How to Write in 700 Easy Lessons

The case against writing manuals
Nick Craine

I decided years ago that I was no longer going to give readings dressed like a bum. That’s the only way to put it: no more raggedy jeans and tennis shoes, no more flannel shirts with the long johns showing at the ends of the sleeves. I went and bought a couple of suits, some ties and white shirts, and a pair of dress shoes.

But on one trip I forgot to pack the damn shoes. So I asked the woman who was my host for my visit to a midwestern town if she could point me to a place where I could buy a pair. A Brooks Brothers, she said helpfully, was less than a block from the hotel. So I walked there, bought the shoes, and walked back wearing them. By the time I got to the hotel, they were already hurting. The woman—let’s call her Delores—came to fetch me 20 minutes later. We had an hour to kill before the reading, and she asked if I would like to see the offices of the literary magazine she and her husband were running. It was within walking distance. Getting there took 10 minutes, and I was now in considerable pain from the new shoes; they seemed to be cutting into my ankles.

She took me to an office, where she showed me back copies of the magazine, going back several decades. It was an old magazine, and she was a good editor and a good person. I liked her. She showed me a room off the office, a warehouse, really, with metal shelves stacked with books. She and her husband were also running a press. All of the books, all of them, were books of instructions for constructing one’s novel-story-play-poem—you name it (if you are reading this, you probably can)—the kinds of volumes advertised prominently in Writing magazines.

Now, I’m not speaking about books dealing with the aesthetics of the task, or with essays about the craft and critical analysis of examples of it—and we have several very fine volumes in that vein (Charles Baxter’s Burning Down the House and John Gardner’s The Art of Fiction come to mind)—no, I’m talking about straight how-to books, most of which claimed to offer shortcut advice, practical instructions on “writing your say the genre,” and even in some cases “secrets” of the novelist’s or story writer’s or poet’s trade. That day, with Delores, I stood among the titles, amazed. Stack upon stack of them.

“These sell really well,” she told me. “You wouldn’t believe how many people want to be writers out there.”

I said, “Damn.” That was what came out of me. We were looking at 50 different titles—a lot. More than I would’ve believed existed. And in the next moment, she offered me $10,000 to write one. “Really,” she said. “These kinds of books sell better than the fiction books.”

“Well,” I said. “Lordy.” I picked one up and put it down, picked up another and turned it in my hand and put it down. “Lordy.”

“Ten thousand dollars,” she said. “And I’ve heard you lecture. You could knock one of these off in a few days, I’ll bet.”

I was not—am not—in a position to take that amount of money lightly when it is offered to me, even for something I would never have thought of unless it came to me in this fashion. I have a family to support, children in college. So for an instant I was speechless. She stared, quietly waiting for my answer.

“You’re serious,” I got out at last.


“Well,” I said, stalling for time. I was appalled. I’d forgotten the discomfort of the new shoes. “I’m—well, I’m working on this novel, you know. And I can’t imagine when I’d have the time to do it.”

“If you ever get some time—I mean it. Give me a call.”

“Um,” I said. And I felt myself deciding to go ahead and express something of my astonishment. “You know, I’m not really much in favor of this kind of thing. I had a conversation with a woman a year or so ago about her writing, and I asked what she was reading. Turns out that all her reading was in how-to books about writing her novel. She said she’d read them all, that they seemed to have been written for her, and her novel.”

“See?” Delores said. “And how was her writing?”

“It read as though it had been composed by one of those electronic calculators. An adding machine.”

Delores smiled. “Well, they do sell well, these books. And if you ever want to write one, let me know.”

I’d completely forgotten about the shoes.

Take a cursory look online. lists 4,470 titles under the heading of How to Write a Book. There, mixed with titles like How to Write a Chick Lit Novel and How to Write and Sell Your Novel are titles like How to Manage Your Home Remodel. Of course it’s the how to phrase that makes the listing what it is and where it is, but in fact, in terms of the expectations and the implied message, these books belong together, and according to the prevailing wisdom of our time, constructing a novel or a poem or a play is no different than building a back deck on your house.

Presented by

Richard Bausch’s most recent book is Something Is Out There.

How to Cook Spaghetti Squash (and Why)

Cooking for yourself is one of the surest ways to eat well. Bestselling author Mark Bittman teaches James Hamblin the recipe that everyone is Googling.

Join the Discussion

After you comment, click Post. If you’re not already logged in you will be asked to log in or register.

blog comments powered by Disqus


How to Cook Spaghetti Squash (and Why)

Cooking for yourself is one of the surest ways to eat well.


Before Tinder, a Tree

Looking for your soulmate? Write a letter to the "Bridegroom's Oak" in Germany.


The Health Benefits of Going Outside

People spend too much time indoors. One solution: ecotherapy.


Where High Tech Meets the 1950s

Why did Green Bank, West Virginia, ban wireless signals? For science.


Yes, Quidditch Is Real

How J.K. Rowling's magical sport spread from Hogwarts to college campuses


Would You Live in a Treehouse?

A treehouse can be an ideal office space, vacation rental, and way of reconnecting with your youth.

More in Entertainment

More back issues, Sept 1995 to present.

Just In