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The Authentic Swing: Notes from the Writing of a First Novel
The Story Behind THE LEGEND OF BAGGER VANCE If you've read his books THE WAR OF ART and TURNING PRO, you know that for thirty years Steven Pressfield (GATES OF FIRE, THE AFGHAN CAMPAIGN etc.) wrote spec novel after spec novel before any publisher took him seriously. How did he finally break through? Ignoring just about every rule of commercial book publishing, Pressfield's "first" novel not only became a major bestseller (over 250,000 copies sold), it was adapted into a feature film directed by Robert Redford and starring Matt Damon, Will Smith, and Charlize Theron. Where did he get the idea? What magical something did THE LEGEND OF BAGGER VANCE have that his previous manuscripts lacked? Why did Pressfield decide to write a novel when he already had a well established screenwriting career? How does writing a publishable novel really work? Taking a page from John Steinbeck's classic JOURNAL OF A NOVEL, Steven Pressfield offers answers for these and scores of other practical writing questions in THE AUTHENTIC SWING.
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First published September 21, 2013
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About the author
Steven Pressfield
90 books5,847 followersI was born in Port of Spain, Trinidad, in 1943 to a Navy father and mother.
I graduated from Duke University in 1965.
In January of 1966, when I was on the bus leaving Parris Island as a freshly-minted Marine, I looked back and thought there was at least one good thing about this departure. "No matter what happens to me for the rest of my life, no one can ever send me back to this freakin' place again."
Forty years later, to my surprise and gratification, I am far more closely bound to the young men of the Marine Corps and to all other dirt-eating, ground-pounding outfits than I could ever have imagined.
GATES OF FIRE is one reason. Dog-eared paperbacks of this tale of the ancient Spartans have circulated throughout platoons of U.S. troops in Iraq and Afghanistan since the first days of the invasions. E-mails come in by hundreds. GATES OF FIRE is on the Commandant of the Marine Corps' Reading list. It is taught at West Point and Annapolis and at the Marine Corps Basic School at Quantico. TIDES OF WAR is on the curriculum of the Naval War College.
From 2nd Battalion/6th Marines, which calls itself "the Spartans," to ODA 316 of the Special Forces, whose forearms are tattooed with the lambda of Lakedaemon, today's young warriors find a bond to their ancient precursors in the historical narratives of these novels.
My struggles to earn a living as a writer (it took seventeen years to get the first paycheck) are detailed in my 2002 book, THE WAR OF ART.
I have worked as an advertising copywriter, schoolteacher, tractor-trailer driver, bartender, oilfield roustabout and attendant in a mental hospital. I have picked fruit in Washington state and written screenplays in Tinseltown.
With the publication of THE LEGEND OF BAGGER VANCE in 1995, I became a writer of books once and for all.
My writing philosophy is, not surprisingly, a kind of warrior code — internal rather than external — in which the enemy is identified as those forms of self-sabotage that I have labeled "Resistance" with a capital R (in THE WAR OF ART) and the technique for combatting these foes can be described as "turning pro."
I believe in previous lives.
I believe in the Muse.
I believe that books and music exist before they are written and that they are propelled into material being by their own imperative to be born, via the offices of those willing servants of discipline, imagination and inspiration, whom we call artists. My conception of the artist's role is a combination of reverence for the unknowable nature of "where it all comes from" and a no-nonsense, blue-collar demystification of the process by which this mystery is approached. In other words, a paradox.
There's a recurring character in my books named Telamon, a mercenary of ancient days. Telamon doesn't say much. He rarely gets hurt or wounded. And he never seems to age. His view of the profession of arms is a lot like my conception of art and the artist:
"It is one thing to study war, and another to live the warrior's life."
I graduated from Duke University in 1965.
In January of 1966, when I was on the bus leaving Parris Island as a freshly-minted Marine, I looked back and thought there was at least one good thing about this departure. "No matter what happens to me for the rest of my life, no one can ever send me back to this freakin' place again."
Forty years later, to my surprise and gratification, I am far more closely bound to the young men of the Marine Corps and to all other dirt-eating, ground-pounding outfits than I could ever have imagined.
GATES OF FIRE is one reason. Dog-eared paperbacks of this tale of the ancient Spartans have circulated throughout platoons of U.S. troops in Iraq and Afghanistan since the first days of the invasions. E-mails come in by hundreds. GATES OF FIRE is on the Commandant of the Marine Corps' Reading list. It is taught at West Point and Annapolis and at the Marine Corps Basic School at Quantico. TIDES OF WAR is on the curriculum of the Naval War College.
From 2nd Battalion/6th Marines, which calls itself "the Spartans," to ODA 316 of the Special Forces, whose forearms are tattooed with the lambda of Lakedaemon, today's young warriors find a bond to their ancient precursors in the historical narratives of these novels.
My struggles to earn a living as a writer (it took seventeen years to get the first paycheck) are detailed in my 2002 book, THE WAR OF ART.
I have worked as an advertising copywriter, schoolteacher, tractor-trailer driver, bartender, oilfield roustabout and attendant in a mental hospital. I have picked fruit in Washington state and written screenplays in Tinseltown.
With the publication of THE LEGEND OF BAGGER VANCE in 1995, I became a writer of books once and for all.
My writing philosophy is, not surprisingly, a kind of warrior code — internal rather than external — in which the enemy is identified as those forms of self-sabotage that I have labeled "Resistance" with a capital R (in THE WAR OF ART) and the technique for combatting these foes can be described as "turning pro."
I believe in previous lives.
I believe in the Muse.
I believe that books and music exist before they are written and that they are propelled into material being by their own imperative to be born, via the offices of those willing servants of discipline, imagination and inspiration, whom we call artists. My conception of the artist's role is a combination of reverence for the unknowable nature of "where it all comes from" and a no-nonsense, blue-collar demystification of the process by which this mystery is approached. In other words, a paradox.
There's a recurring character in my books named Telamon, a mercenary of ancient days. Telamon doesn't say much. He rarely gets hurt or wounded. And he never seems to age. His view of the profession of arms is a lot like my conception of art and the artist:
"It is one thing to study war, and another to live the warrior's life."
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Displaying 1 - 30 of 61 reviews
November 27, 2013
I love love love Steve Pressfield and Turning Pro & War of Art are on my desk. Constant companions to my writing life. I even have Turning Pro in print, ebook AND audio. I'm an uber fan.
But this book starts with golf, and uses the metaphor of golf for writing as well as telling the practicality of the golf story of Bagger Vance, Steve's breakout book. Unfortunately, I'm not a golf fan.
However, it's still got some good nuggets for writers, & I loved learning about the structure of the Bhagavad Gita & how Steve used that basis to resonate at a deeper level with people. That nugget is worth the price of the book. I'm still an uber Pressfield fan!
But this book starts with golf, and uses the metaphor of golf for writing as well as telling the practicality of the golf story of Bagger Vance, Steve's breakout book. Unfortunately, I'm not a golf fan.
However, it's still got some good nuggets for writers, & I loved learning about the structure of the Bhagavad Gita & how Steve used that basis to resonate at a deeper level with people. That nugget is worth the price of the book. I'm still an uber Pressfield fan!
January 8, 2021
This is a very short book, extremely helpful but only for those who need it. If you are not going to create something big, skip it.
September 30, 2013
Without spoiling too much, Pressfield says that as much as golfers have their own authentic swing we as non-golfers also have our own authentic swing. He uses the story of how he wrote his novel The Legend of Bagger Vance as a means to get this message across -- and while the novel (and subsequent film) illustrates the message very well, the actual process of writing also does this effectively. As a writer, this resonated with me very much. But you don't have to be a writer to get the underlying message behind The Authentic Swing. That said, how you interpret the message will definitely be personal rather than universal. And that's what makes this book so worthwhile to read.
November 1, 2020
Love Steven Pressfield and his works. This one had me on the fence, mostly because I find golf dreadfully boring, and he uses the sport as a running metaphor throughout the book.
Still!
While "The Authentic Swing" never promised to be a tutorial, or step-by-step combat plan for being a creative badass, it reads nicely as what it's meant to be: a mini memoir and a collection of notes / reflections from an artist taking his first real shot (his first "authentic swing") at his dream. He has some lovely words of encouragement for the artist who is unsure about taking the leap, and this book would actually be a really wonderful first introduction to Pressfield's amazing and ass-kicking library of writer's tools.
But the first lesson we all need to learn? To swing our own authentic swing and to walk in who we are, hand in hand with our Muse.
Still!
While "The Authentic Swing" never promised to be a tutorial, or step-by-step combat plan for being a creative badass, it reads nicely as what it's meant to be: a mini memoir and a collection of notes / reflections from an artist taking his first real shot (his first "authentic swing") at his dream. He has some lovely words of encouragement for the artist who is unsure about taking the leap, and this book would actually be a really wonderful first introduction to Pressfield's amazing and ass-kicking library of writer's tools.
But the first lesson we all need to learn? To swing our own authentic swing and to walk in who we are, hand in hand with our Muse.
September 24, 2013
I read it too fast.
This book, like Pressfield's other books about creativity (The War of Art, Do the Work, and to a lesser extent, The Warrior Ethos), is meant to be read slowly and considered - pondered - savored, so you can decide what it's saying to you. The real value of the book doesn't come from Pressfield's text. It comes from what happens when you put the book down and think about it. How does it apply to you? What are you going to do with what he's challenging you to do? Does this help?
With a first read, the things it's telling me is something I've heard said in a number of ways and in a number of contexts. It's just this - "Forget yourself, and go to work."
But like I said, I read it too fast.
This book, like Pressfield's other books about creativity (The War of Art, Do the Work, and to a lesser extent, The Warrior Ethos), is meant to be read slowly and considered - pondered - savored, so you can decide what it's saying to you. The real value of the book doesn't come from Pressfield's text. It comes from what happens when you put the book down and think about it. How does it apply to you? What are you going to do with what he's challenging you to do? Does this help?
With a first read, the things it's telling me is something I've heard said in a number of ways and in a number of contexts. It's just this - "Forget yourself, and go to work."
But like I said, I read it too fast.
October 20, 2013
Will Smith as Krishna, Matt Damon as Arjuna?
"Theme. Theme is everything" . . . Pressfield asserts in describing the pursuit of his "authentic swing" in this book about his writing a book about golf . . . that is not really about golf.
In the course of this slim yet dense book, Pressfield lightly folds in the "get out of your own way" themes he so effectively counsels (shouts?) in "War of Art" and "Do The Work".
I may be biased, as I am a fan of his work. However, the seasoned and brutally direct guide within these narrow covers will profit anyone wishing to tell a story.
As he illuminates here in a more breezy style . . . they need no permission to do so.
October 13, 2013
I'm always enthralled with Steven Pressfield's words. His books on writing are poetic, engaging, and enthralling. I feel like he's personally talking to me. I like when he says "I'm a writer who follows the Muse." I think that idea speaks volumes. Getting up and allowing the Muse to create can be a challenge but his advice rings true "You start with instinct. You plunge in. Good things happen." Well worth the read.
November 23, 2013
Wow, wow, wow. This was absolutely amazing. I started out not really knowing what to expect...I mean I don't play golf, don't know much about golf, and I haven't read The Legend of Bagger Vance. BUT. Highly recommended to everyone who is a creator, artist, writer entrepreneur...everyone.
June 5, 2017
In this work, what might be called a pamphlet, Steven Pressfield tells the story of how he wrote
The Legend of Bagger Vance: A Novel of Golf and the Game of Life
. The work is interesting on a number of levels. First, it explains, in some detail, how Pressfield conceived of Bagger Vance and recreated the Hindu scriptural epic,
Bhagavad-Gita
. The protagonist, Rannulph Junuh, is also based on a character in the Hindu text, Arjuna (recreated as R. Junuh). Second, the work tells the story of Pressfield's love of golf, and his idea about "the authentic swing", something "remembered" rather than learnt, and recalling Saint-Exupéry (de) Antoine:
Perfection is achieved not when there is nothing more to add, but when there is nothing left to take away.This process of stripping oneself away to reveal the true self recalls James Allen and Kempis Thomas, but Pressfield presents this in an accessible form. Third, the work provides guidance for writers, specifically of fiction novels, but the process can apply equally to any style of writing. While the work is short, and there are entire pages devoted to only one short paragraph (making the book thicker than it need be), there is much below the surface of the iceberg that can be easily missed if this is the only work of Pressfield's one has read. It pays to have read Aristotle and the other aforementioned authors, not because one needs to to understand Pressfield, but because Pressfield brings it all together like a folk song. Read James Allen and then Kempis Thomas and one will see the connection. It is not the same, not just copied, but enlivened. That is what makes this pamphlet, and, indeed, all of Pressfield's shorter works, worthwhile.
November 7, 2020
A common theme running throughout Steven Pressfield’s novels is warfare. Because of that, many of his works fall into the category of historical fiction. Which is why it really baffled me when I learned that his first published novel is a story about golf.
Except it’s not. Not entirely.
Drawing from the intimate experience he had as a caddie, Pressfield delves into the uniqueness and philosophy of the sport, chronicling the writing process in The Authentic Swing.
He describes the act of writing as a path of self-discovery, the way of finding one’s true (authentic) self. Thus, the golfer’s Authentic Swing is much similar to the writer’s Authentic Voice.
That’s what writers are after when they write for years and decades on end before getting published: finding the voice.
Except it’s not. Not entirely.
Drawing from the intimate experience he had as a caddie, Pressfield delves into the uniqueness and philosophy of the sport, chronicling the writing process in The Authentic Swing.
He describes the act of writing as a path of self-discovery, the way of finding one’s true (authentic) self. Thus, the golfer’s Authentic Swing is much similar to the writer’s Authentic Voice.
That’s what writers are after when they write for years and decades on end before getting published: finding the voice.
February 5, 2024
Did I highlight, dog ear pages, and take notes? Yes. Did I learn something new about writing a novel? Also, yes. But did I expect more, especially after reading 'Nobody wants to read your Sh*t' and having it change my life? You know my answer already.
I was hoping for this book to be more of his journey during the writing of a first novel. Bagger Vance, the novel he refers to in this book, wasn't even his first novel, just his first success. Still, I was hoping to glean some insights into what it's like to write a first novel, as I'm on that path myself. This had some great concepts (like the idea that you should steal scenes from other works of art and remake them into your own), but some other things, like details about the Bagger Vance movie or the plot of Bagger Vance, didn't have as much value as the details in his other works like in 'Nobody wants to read your Sh*t'.
I'm not mad I read it, especially because it's a short and breezy read, but there are many better books on writing novels out there.
I was hoping for this book to be more of his journey during the writing of a first novel. Bagger Vance, the novel he refers to in this book, wasn't even his first novel, just his first success. Still, I was hoping to glean some insights into what it's like to write a first novel, as I'm on that path myself. This had some great concepts (like the idea that you should steal scenes from other works of art and remake them into your own), but some other things, like details about the Bagger Vance movie or the plot of Bagger Vance, didn't have as much value as the details in his other works like in 'Nobody wants to read your Sh*t'.
I'm not mad I read it, especially because it's a short and breezy read, but there are many better books on writing novels out there.
November 28, 2020
Great book. Totally makes me want to read the novel it was written about. I love Steven Pressfield's books and I plan to read all of them eventually. This book has been on my shelf for years and I've never bothered to pick it up. That was a mistake. Honestly I was going to skip Legend of Bagger Vance from "reading everything he wrote" cause who wants to read about golf? Not me. Until I picked this gem up. Not only was this book totally inspiring - and yes I'm working on getting off my @$$ to start a book using my own authentic swing - but it made me want to read a book about golf. That's pretty impressive.
January 5, 2018
While not as inspirational as his "War of Art", this book still makes some good observations about the creative process, which are applicable to just about any medium. The main take-away for me was Mr. Pressfield's observations about using common tropes in legends and mythology to serve as the structure for your story (he says he based the core structure of the story of Bagger Vance on the Bhagavad Gita).
I wouldn't recommend this as a first how-to book on writing, as there are far more comprehensive ones out there. A very light read.
I wouldn't recommend this as a first how-to book on writing, as there are far more comprehensive ones out there. A very light read.
November 15, 2022
Though its main title points a different direction, this is a book for writers. In it, Stephen Pressfield mashes up his love for writing and golf with his somewhat mystical relationship with the Muse to encourage writers to sit down and do the work. Along the way, he offers interesting insights to his experience in writing his first (published) novel, “The Legend of Bagger Vance” and quite intriguing affinities he finds between writing and golf.
It’s a short read, filled with interesting thoughts and full of encouragement for writers to improve their craft. A worthwhile book.
It’s a short read, filled with interesting thoughts and full of encouragement for writers to improve their craft. A worthwhile book.
March 30, 2022
Another inspiring book for writers, my kind of writer.
This guy always makes me laugh. I enjoyed the book, "Bagger," and this book convinced me to stay away from the movie. And he was the writer. How honest can you get? Thank you, Steven Pressfield. By the way, I did use your swing for one book, and it works, but not again. I'm not you. Keep inspiring us, and making us laugh. Kevin Thomas Morgan
This guy always makes me laugh. I enjoyed the book, "Bagger," and this book convinced me to stay away from the movie. And he was the writer. How honest can you get? Thank you, Steven Pressfield. By the way, I did use your swing for one book, and it works, but not again. I'm not you. Keep inspiring us, and making us laugh. Kevin Thomas Morgan
November 14, 2016
Ostensibly about how to write, The Authentic Swing is really about how to reach creative fulfillment in whatever you do. Like everything Pressfield writes, I love it. Still, if you've not read The War of Art, I suggest starting there. Unless you REALLY loved The Legend of Bagger Vance, in which case, start here.
May 22, 2017
It was an awesome book. He doesn't shun away from the bare plot ideas. He admits how he got the idea for his first novel. I agree with most of the points, however it is too shallow a book for a veteran writer. It won't teach anything to a beginning writer though.
Worth a read for the already published.
Worth a read for the already published.
July 20, 2020
It was great to get inside the creative mind of the author of The Legend of Bagger Vance. The reader gains insight from the first moment that inspired the story all the way to the making of the movie.
October 16, 2020
I really like Steven Pressfield's writing but as with this book, if there is a shortcoming... it is that... being short. It is full of solid, inspirational themes and leaves you feeling motivated. I just wish it were longer.
January 13, 2018
Engaging and accessible book about the writing process; not very long or in-depth, but may resonate if you're writing a novel
July 25, 2021
Great book for any creative
Pressfield clearly lays out how he approaches creating a story. This is a great guide for learning to write your own story, not someone elses .
Pressfield clearly lays out how he approaches creating a story. This is a great guide for learning to write your own story, not someone elses .
November 18, 2021
There is not much here, but it is entertaining.
January 7, 2022
Pressfield is a good writer and gives us an inside view on the process of writing his first successful novel.
April 19, 2023
Fascinating look at the writing process.
July 21, 2025
Fantastic book!
August 20, 2014
As with many things, my relationship to this book is complicated at best. Over the course of a few of his books on literary theory, Pressfield's voice grinds consistently in that 'aw-shucks' gear which I associate with the 1940's or 50‘s. But the problem is greater than just tone. At heart, is a philosophy. Actually two. And here is where the complications arise.
From the book, about 16% of the way in:
Which is not an uncommon philosophy. People have been justifying killing and war since killing and war began, which is to say, since we evolved the capacity to articulate these concepts in language.
All good writers eventually stumble on their heritage, the vast body of text that proceeds them. The problem here is that, as with so many, Pressfields awareness is cirmcumscribed by a particularly destructive parochialism. Contrast this with another well-know philosopher:
Which is actually one of this philosopher's more tepid responses to violence. Consider:
…or…
And lest you think I'm cherry-picking philosophers here, choosing an obscure philosophy designed to support my position, understand that the above quotes come from the second-most translated book on the planet. I'm speaking of the Tao Te Ching.
And what of Pressfield's second philosophy? This is his theory of art, which he gets right more than wrong. And it is the reason that this is a review of a four-star book and not a one-star book, because ultimately we have to judge a book of philosophy — which this one is — on it's philosphies alone.
The author's problem is that he conflates the two philosophies. An artist doing battle with his art is an artist involved in a noble stuggle. It is ultimately a battle of self-conquering. But this must not be confused with batttling others. This leads to the glorification of force, of trying to conquer others. This path leads one direction and one direction only: to destruction, violence and mourning.
From the book, about 16% of the way in:
The Gita is not like the Old or New Testament or any Buddhist or Confucian or Native American scripture I have read. It advocates killing. “Slay the enemy without mercy,” Krishna instructs the great warrior Arjuna. “You will not be killing them, for I have slain them all already.”
Which is not an uncommon philosophy. People have been justifying killing and war since killing and war began, which is to say, since we evolved the capacity to articulate these concepts in language.
All good writers eventually stumble on their heritage, the vast body of text that proceeds them. The problem here is that, as with so many, Pressfields awareness is cirmcumscribed by a particularly destructive parochialism. Contrast this with another well-know philosopher:
A master of the art of war has said, 'I do not dare to be the host (to commence the war); I prefer to be the guest (to act on the defensive). I do not dare to advance an inch; I prefer to retire a foot.' This is called marshalling the ranks where there are no ranks; baring the arms (to fight) where there are no arms to bare; grasping the weapon where there is no weapon to grasp; advancing against the enemy where there is no enemy.
There is no calamity greater than lightly engaging in war. To do that is near losing (the gentleness) which is so precious. Thus it is that when opposing weapons are (actually) crossed, he who deplores (the situation) conquers.
Which is actually one of this philosopher's more tepid responses to violence. Consider:
Now arms, however beautiful, are instruments of evil omen, hateful, it may be said, to all creatures. Therefore they who have the Tao do not like to employ them.
[…]
He who has killed multitudes of men should weep for them with the bitterest grief; and the victor in battle has his place (rightly) according to those rites.
…or…
Wherever a host is stationed, briars and thorns spring up. In the sequence of great armies there are sure to be bad years.
And lest you think I'm cherry-picking philosophers here, choosing an obscure philosophy designed to support my position, understand that the above quotes come from the second-most translated book on the planet. I'm speaking of the Tao Te Ching.
And what of Pressfield's second philosophy? This is his theory of art, which he gets right more than wrong. And it is the reason that this is a review of a four-star book and not a one-star book, because ultimately we have to judge a book of philosophy — which this one is — on it's philosphies alone.
The author's problem is that he conflates the two philosophies. An artist doing battle with his art is an artist involved in a noble stuggle. It is ultimately a battle of self-conquering. But this must not be confused with batttling others. This leads to the glorification of force, of trying to conquer others. This path leads one direction and one direction only: to destruction, violence and mourning.
February 28, 2017
3.5. Great section on how Pressfield took the germ of an idea and gave it form by using classic tropes and structures. As with some of Pressfield's other works on writing, the tone is slightly macho and unforgiving, but his concept of 'resistance' (explored more fully in 'The War Of Art') is one that has stayed with me.
January 28, 2022
It was OK, had some good tips but the golf references at times made me forget what the purpose of the book was. The first chapter didn't seem necessary to me. I would've preferred a different approach because even as a short book it felt repetitive at some points.
September 24, 2013
In this slim volume Steven Pressfield walks you through his creative process for writing the novel The Legend of Bagger Vance, from the spark of the idea to the development of that idea, from structure to theme. He not only tells you what they are and why your novel needs them, he explains how to arrive at the answers to those questions in the development of your own work. Interspersed throughout is advice about being a writer, being your own cheerleader, and beating resistance (extensively covered in his other book The War of Art, which I highly recommend to, well, everyone).
This book is a little disjointed. There are three parts, but I didn't see a ton of organization to the chapters, which are generally small (some are only two or three lines). The Legend of Bagger Vance is about golf, hence lots of metaphor relating to golf, and while golf is about as interesting to me as Miley Cyrus (that is, not in any way shape or form) it was still interesting to witness his thought process for his book and it was helpful in a more profound way than actual writing workshops have been for me (where you might sit around explaining why exactly your character would have a towel in the kitchen - this is actually true, from an actual workshop I participated in). After reading this, I found myself excited about revisiting my own pages and applying some of his process to my own work.
Even if I wasn't inclined to try and write my own stories, the book would still be of interest. I always like getting a peek behind the curtain to see how writers work and stories develop and become books.
This book is a little disjointed. There are three parts, but I didn't see a ton of organization to the chapters, which are generally small (some are only two or three lines). The Legend of Bagger Vance is about golf, hence lots of metaphor relating to golf, and while golf is about as interesting to me as Miley Cyrus (that is, not in any way shape or form) it was still interesting to witness his thought process for his book and it was helpful in a more profound way than actual writing workshops have been for me (where you might sit around explaining why exactly your character would have a towel in the kitchen - this is actually true, from an actual workshop I participated in). After reading this, I found myself excited about revisiting my own pages and applying some of his process to my own work.
Even if I wasn't inclined to try and write my own stories, the book would still be of interest. I always like getting a peek behind the curtain to see how writers work and stories develop and become books.
February 18, 2015
Surprising Depth
When I ordered this book I was looking for a "how to" book on writing - a listing of what-to-do's, and samples of notes, formats, outlines, etc. from Steve while he was writing The Legend of Bagger Vance. If that is what you're looking for - don't buy this book.
What I found was a VERY interesting read, told in story format, that drew me in and caused me to realize that I had just read the book in one sitting. I normally read a book one time, and never again (because I remember it), but this book - like The Book of Five Rings (Go Rin No Sho, by Miyamoto Musashi) has layers.
Before folks get bent out of shape, I'm not comparing this book to Go Rin No Sho, which is an international classic spanning centuries of dedicated readers and serious students of life and strategy. What I am saying is that this book has a similar dynamic. Read it once, and it is a good read, and you get a lot out of it. Read it again, and you see another set of meanings and a deeper layer. Read it again...
Unlike most books I've read, I will read this one again - a few times. It is not a list of things to do, a formula to follow for aspiring writers - it is a concept and way of thinking that takes you much deeper than that.
When I ordered this book I was looking for a "how to" book on writing - a listing of what-to-do's, and samples of notes, formats, outlines, etc. from Steve while he was writing The Legend of Bagger Vance. If that is what you're looking for - don't buy this book.
What I found was a VERY interesting read, told in story format, that drew me in and caused me to realize that I had just read the book in one sitting. I normally read a book one time, and never again (because I remember it), but this book - like The Book of Five Rings (Go Rin No Sho, by Miyamoto Musashi) has layers.
Before folks get bent out of shape, I'm not comparing this book to Go Rin No Sho, which is an international classic spanning centuries of dedicated readers and serious students of life and strategy. What I am saying is that this book has a similar dynamic. Read it once, and it is a good read, and you get a lot out of it. Read it again, and you see another set of meanings and a deeper layer. Read it again...
Unlike most books I've read, I will read this one again - a few times. It is not a list of things to do, a formula to follow for aspiring writers - it is a concept and way of thinking that takes you much deeper than that.
Displaying 1 - 30 of 61 reviews