Great for writing and great for anyone trying to learn about journalism or writing for magazines or even a memoir. This was an eye opening experience from someone who came into writing without quite wanting to. Jerry Jenkins wanted to be a baseball player more than anything, but that came to an end after an injury, like most unlucky dreamers of making it big in sports. But he did make it big in writing. Thanks to his strong belief in God.
He got his break in writing a book for a pastor, I believe which is cool. The pastor had an idea but didn't know how to place it on paper so they worked together and that series led to 19 books, many of them bestsellers.
But more than that, this book is filled with words for writers. It's inspirational and motivating. It comes packed with stories of his life that led to bigger books and contracts to write memoirs for top ranking people, mostly sports, but famous nonetheless.
Later, he switched over to fiction. He enjoys that more, and I'm sure if you are reading this that you do to, maybe even writing your own stories, like me.
It was great fun learning about sports and famous people. Additionally, there are book recommendations for writers. That's always fun, considering that many think they are established in writing and that their word is golden, but only few have the experience to back it up. Take a look below to find those books.
I do have to say though, that at first it started slow, and I almost dropped it off the cliff. But around page 30 is when we start to get writing advice, stuff that his too true to not like. This stuff is powerful and demonstrates real wisdom that might hurt you if you are not really a writer.
Enjoy this book and let me know that you think.
Annotations Captured on Kindle Paperwhite:
Writing for the Soul: Instruction and Advice from an Extraordinary Writing Life
Jerry B. Jenkins
p.06) Jerry B. Jenkins is a big Christain. That’s how his career started.
p.07) I have often cautioned wannabes: No one really likes to write; they like to have written. That idea is not, of course, original, but I sure identify with it. Writing is hard work, especially when the sheen of the novelty of the idea has been worn dull by the daily obligation to produce pages.
p.08) I loved old stories told new. It was the telling that made the difference.
p.11) Problem was, I didn’t believe in writer’s block and had been saying so to budding writers for years. My idea went like this: Writing may be art and craft, but it is also your job. Factory workers and executives don’t get to call in and say “I have worker’s block today.” They would be told to get their behinds into the workplace or look for another job.
p.12) My father, who passed in 2003, always told me there were two kinds of people: those who tried to see how little they had to do to get by, and those who did whatever it took to accomplish their tasks.
p.13) Left Behind was not my first book. It was my 125th.
p.14) If writing is hard work, becoming recognized as a writer is even harder. Writing about something you know little about will make it only drudgery. Specialize-especially during your formative writing years-in your own area of interest.
p.15) He played dice baseball for hours, something his father made up for him to keep him distracted and busy.
p.16) I injured my knee, and this was before the advent of reconstructive arthroscopic surgery.
p.35) I do not fall into the category of those who say, “I write because I can’t not write.” I admire those people, and sometimes wish I were one of them.
p.35) You are what you say you are. If you have decided to be a writer, you’re a writer, published or not. We all have to start somewhere. Beginners often lament that the door is closed except to the big names. But think about it: Who were the big names before they were published?
Nobodies.
Get serious about your career by declaring yourself a writer. Do it now, and don’t look back. If doing so makes you waver or doubt yourself, maybe you’re not cut out for writing. If you’re looking for reasons to quit, there are plenty.
p.40) Why write if you don’t like writing?
Because it’s me. It’s what I do. Beginners like the idea of being an author, but not the hours it takes to get the job done.
Mostly I enjoy the freedom of setting my own hours and being my own boss.
p.41) It’s not that I hate going to the keyboard, but I put it off, dreading the encounter, especially getting started. When I finally get to it, I often think, This isn’t so bad. Then the story draws me in, and I’m off and running.
p.43) On Creative Writing and College professors: In almost every case, I find the writing teacher is not published.
p.43) If the writer has to explain it, it’s not working. If I am compelled to read a paragraph twice, it had better be because it moved me so much that I want to, not because I have to figure out what in the world the writer is trying to say.
p.46) Interviewed Walter Payton.
p.48) Walter Payton on running: Walter planned it so that if he passed out, which he often did, he would end up near his car and appear to be napping, lest anyone grew concerned.
p.49) He played pro football from 1975 until 1987, and died of liver cancer in 1999 at age forty-five.
p.53) Don’t Wait:
Many writers-or would be writers-talk about waiting for inspiration. If you’re called, inspiration and passion will permeate your writing. Don’t confuse inspiration with initiative. Initiative solves your procrastination problem and pulls you through writer’s block.
p.57) He interviewed Billy Graham for the memoir Just As I Am
p.65) Journalism teaches you to get to the point and write quickly. You also learn to write regardless of the distractions.
Listen, it helps to learn to write in a boiler-room atmosphere. Do that and you can write anywhere.
p.67) Learn everything there is to know about how to submit your material, then start small. Write for local publication, and when you have scored some clips, try regional magazines, then national. You’ll stub your toe occasionally, but you’ll learn. You’d be surprised at how many submissions magazine editors get from people who don’t even know to double-space their work and print it on only one side of paper.
p.68) That idea became the book Rookie, which is now published under the title The Youngest Hero.
p.71) Citizens of Masada faced exactly that decision in 73 AD. They killed their offspring and themselves rather than fall under the power of the enemy.
That’s another reason to be a reading writer: History can help you make believable plotting decisions.
p.74) When it’s time to get down to writing, I head to my writing retreat in the mountains, which sits on the second floor of a building behind a large cabin home on fifty-nine acres.
I had started with an old upright manual typewriter, pecking away with two fingers. My ersatz office consisted of the couch, where I sat with my new portable electric typewriter facing me on the seat of a kitchen chair. I spread my papers on either side of me, and if I had a lot of resources to consult, I added a kitchen chair on either side of the typewriter.
p.77) If there is anything you should go into debt for it is a comfortable chair. You are going to live in that thing for hours at a time, and you want to be able to forget about it.
p.79) Ideas tend to come easier when your writing space and tools are right.
p.81) Is there any excuse for saying “I won’t write today?”
Sometimes. If you’re under the weather or didn’t sleep well, maybe you need a break. Maybe your creative juices will flow better if you give yourself a day off. But you always have to pay.
p.82) If you get tired, take a nap. But if you’re waiting until you’re completely cogent, coherent, and inspired, you may never get to the keyboard. You become a better writer by writing, by flexing those writing muscles.
p.97) Don’t ever think about starting your writing before doing your research.
p.97) My technical consultants tell me that if you can imagine something, it will likely be on the market in five years, but here are logical limits.
p.102) Almanacs and atlases are wonderful, inexpensive investments. A world almanac is a must for a serious writer.
p.102) World almanacs include just about anything you could ever want in the way of basic research. I even use them for coming up with character names. When naming a foreign character, I’ll look up his country of origin, scan the current government leaders for the last name, combine that with a first name from the country’s history, and bingo, I have a perfectly legitimate and ethnically accurate name.
p.103) Research takes you only so far, eventually you have to push past cold facts and go beyond your research to create your own world and its inhabitants.
p.104) We can complain all we want about how good stories don’t get enough attention, but the fact is, conflict makes fiction more interesting.
Conflict helps create what novel-writing guru Sol Stein calls the engine of a story.
p.105) Make sure that your research does not come off as evidence that you did your homework by explaining things that don’t need to be in the story or in dialogue.
p.109) In an article or a book, you need to incorporate changes of pace. Slower periods allow the reader to get her bearings, and the writer to convey important information that might be lost during a breathless action scene.
p.110) Resist the urge to fix everything so your protagonist has clear sailing. Better to go the other way. Have her evicted, living with friends, unable to get her clothes cleaned, wondering where her next meal will come from.
Conflict is crucial. Conflict is indispensable. Conflict also creates tension.
Book) Dean Koontz: How to Write Best-selling Fiction.
p.122) How do you know when a scene or chapter should end?
It’s almost always earlier than you think. When I’m writing multiple-perspective narrative, I'd end a scene as powerfully as I can. The next day, I find there’s at least one line before that break that I can still cut.
I’ll say it again: cutting nearly always improves the final product.
p.122) If you merely edit your manuscript with this in mind-starting scene later and ending them earlier-you’ll punch up your story immeasurably.
p.129) Authors, too, must change and grow. If we are not different people by the end of the writing, something is wrong. And each effort should be an improvement over the last.
p.130) You don’t even have to name orbital characters, but they should be interesting. In The Operative, my lead buys a gun on the black market in South America from a national wearing thick, black, horn-rimmed glasses. My guess is you already have a picture of him in your mind. You see him a certain height, have a given him a hair color, can probably even hear his accent.
I want you to see him your way, fat and dumpy or tall and thin. I call him Glasses. I’ve referred to others as Big Mouth, Pants, or Shoes. I don’t need you to get to know them; they’re just props. But, I hope, distinctive ones.
p.134) Keep Track: writing out a character sketch-even a short bio-can help keep you straight, but don’t feel obligated to use every tidbit of someone’s history.
Book) William Sloane-The Craft of Writing.
p.143) When writers jump from brain to brain within the same scene, that’s called omniscient viewpoint
N) and he doesn’t recommend this. Just read Malorie and see how terrible it sounds.
p.151) Stop the clutter of detail:
The tiny rig echoed through the dark house. The shinny white receiver waited on the stone countertop. Another outburst. Chester, handsome, dark-haired, and taller than normal, craned his neck to look at the ringing reminder of his loneliness. After the phone’s third cry for attention, Chet stood up and strode purposefully toward the kitchen. His long legs were encased in brown corduroys, which swished in the silence as he moved toward the phone. Ring foru. He knew the machine would click on if he didn’t move quickly. He plucked the receiver delicately from the cradle with his bronzed hand and said in war, resonant tones, “Hello. Chester here.”
“Hi, Chester. It’s Mary.”
You get the idea. Here ‘s my version: Late that night, Mary phoned.