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Monkeys with Typewriters: How to Write Fiction and Unlock the Secret Power of Stories
Stories are everywhere... Exploring the great plots from Plato to The Matrix and from Tolstoy to Toy Story, this is a book for anyone who wants to unlock any narrative and learn to create their own. With startling and original insights into how we construct stories, this is a creative writing book like no other. It will show you how to read and write better.
480 pages, Kindle Edition
First published September 6, 2012
135 people are currently reading
1450 people want to read
About the author
Scarlett Thomas
33 books1,842 followersScarlett Thomas was born in London in 1972. Her widely-acclaimed novels include PopCo, The End of Mr Y and The Seed Collectors. As well as writing literary fiction for adults, she has also written a literary fantasy series for children and a book about writing called Monkeys with Typewriters. Her work has been translated into more than 25 languages.
She has been longlisted for the Orange Prize, shortlisted for the South African Boeke Prize and was once the proud recipient of an Elle Style Award. She is currently Professor of Creative Writing & Contemporary Fiction at the University of Kent in the UK. She lives in a Victorian house near the sea and spends a lot of time reading Chekhov and Katherine Mansfield.
She is currently working on a new novel and various projects for TV.
She has been longlisted for the Orange Prize, shortlisted for the South African Boeke Prize and was once the proud recipient of an Elle Style Award. She is currently Professor of Creative Writing & Contemporary Fiction at the University of Kent in the UK. She lives in a Victorian house near the sea and spends a lot of time reading Chekhov and Katherine Mansfield.
She is currently working on a new novel and various projects for TV.
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Displaying 1 - 30 of 75 reviews
February 11, 2013
The infinite monkey theorem says that, given enough time, a monkey with a typewriter will almost certainly produce the complete works of Shakespeare just from tapping the keys at random. As Scarlett Thomas points out in the introduction to this creative writing book, though, writers don’t work that way – they write with purpose (though of course that’s not the be-all and end-all of a finished work), and don’t have unlimited time. This is one of the recurring themes of Monkeys with Typewriters: that writing is more than a technical exercise, even if you can see some of its workings.
It’s fair to say that I wouldn’t have chosen to read this book had the publisher not sent me a copy on spec, because I’ve no ambitions to write fiction. But Thomas has such a distinctive style of writing fiction that I was intrigued to see what she had to say. It turns out that Monkeys with Typewriters is interesting for readers as well as aspiring writers. Thomas is less concerned with telling her readers ‘how to write’ as encouraging to think more deeply about how what they read and write works.
The first half of the book is devoted to ‘Theory’, and especially to examining the mechanics of plots. Thomas goes from Plato, through Aristotle and Nietzsche, to Northrop Frye and Christopher Booker, examining (and sometimes criticising) the different ways plots have been analysed and classified. There’s plenty of food for thought here, even for a non-writer – I like Thomas’s distinction between story (the chronological events that happen) and plot (how those events are arranged by the writer), which I hadn’t thought of in the way before. It’s also fascinating to see the connections Thomas makes, such as when she highlights the similar basic narrative arcs of Toy Story, Sophocles’ Oedipus the King, and an episode of Supernanny. Underneath it all is an enthusiasm for writers to find and do their own thing; after presenting her idea of ‘the eight basic plots’, Thomas invites her readers to devise their own taxonomy.
After ‘Theory’ comes ‘Practice’. Some of the material in this section (such as the chapters on having ideas and the practicalities of writing) is inevitably going to be of more specialised interest – but, even then, it’s not unengaging. The rest will surely get any reader thinking anew about characterisation, narration, and how sentences work. Thomas is an excellent guide through her examples, drawing on classic and contemporary texts alike (from Anna Karenina and Middlemarch to The God of Small Things and number9dream). For her, it’s not about one size fitting all, but about whatever works in context. And this section might well cause you to add one or two books to your to-read list; it only took Thomas to quote one short sentence (‘The lawn was white with doctors’) to convince me I ought to read The Bell Jar.
Whether you want to write or not, Monkeys with Typewriters is the kind of book that renews your enthusiasm for reading in general, a book that believes – and encourages its readers to believe – that great fiction matters. Thomas ends her book with a checklist of key questions for writers. The last one is: ‘If the only copy of my novel was stranded on the top of a mountain, would I go up to rescue it?’ Perhaps the key message of Monkeys with Typewriters is that the only fiction worth writing – and reading – is the sort for which you would head up that mountain. And I’d say a book which argues that is one worth reading.
It’s fair to say that I wouldn’t have chosen to read this book had the publisher not sent me a copy on spec, because I’ve no ambitions to write fiction. But Thomas has such a distinctive style of writing fiction that I was intrigued to see what she had to say. It turns out that Monkeys with Typewriters is interesting for readers as well as aspiring writers. Thomas is less concerned with telling her readers ‘how to write’ as encouraging to think more deeply about how what they read and write works.
The first half of the book is devoted to ‘Theory’, and especially to examining the mechanics of plots. Thomas goes from Plato, through Aristotle and Nietzsche, to Northrop Frye and Christopher Booker, examining (and sometimes criticising) the different ways plots have been analysed and classified. There’s plenty of food for thought here, even for a non-writer – I like Thomas’s distinction between story (the chronological events that happen) and plot (how those events are arranged by the writer), which I hadn’t thought of in the way before. It’s also fascinating to see the connections Thomas makes, such as when she highlights the similar basic narrative arcs of Toy Story, Sophocles’ Oedipus the King, and an episode of Supernanny. Underneath it all is an enthusiasm for writers to find and do their own thing; after presenting her idea of ‘the eight basic plots’, Thomas invites her readers to devise their own taxonomy.
After ‘Theory’ comes ‘Practice’. Some of the material in this section (such as the chapters on having ideas and the practicalities of writing) is inevitably going to be of more specialised interest – but, even then, it’s not unengaging. The rest will surely get any reader thinking anew about characterisation, narration, and how sentences work. Thomas is an excellent guide through her examples, drawing on classic and contemporary texts alike (from Anna Karenina and Middlemarch to The God of Small Things and number9dream). For her, it’s not about one size fitting all, but about whatever works in context. And this section might well cause you to add one or two books to your to-read list; it only took Thomas to quote one short sentence (‘The lawn was white with doctors’) to convince me I ought to read The Bell Jar.
Whether you want to write or not, Monkeys with Typewriters is the kind of book that renews your enthusiasm for reading in general, a book that believes – and encourages its readers to believe – that great fiction matters. Thomas ends her book with a checklist of key questions for writers. The last one is: ‘If the only copy of my novel was stranded on the top of a mountain, would I go up to rescue it?’ Perhaps the key message of Monkeys with Typewriters is that the only fiction worth writing – and reading – is the sort for which you would head up that mountain. And I’d say a book which argues that is one worth reading.
November 9, 2012
Over the years, I’ve amassed a whole shelf of ‘how to’ books on writing. Some have disappointed me. Their blurbs promise the allure of unlocking the deepest, darkest secrets of constructing the perfect narrative but don’t always follow through. Others are invaluable and I find I recommend them time and time again to writing students and consultancy clients. But, for the most part, they tend to focus on one aspect of the craft. A lecturer in creative writing at the University of Kent, Scarlett Thomas has gathered together in Monkeys With Typewriters a wide ranging amount of material – on plot, characters, narrative mode and the craft of line-by-line writing – and boiled it down in a common sense way. She writes with such warmth and reader-friendliness that you feel like you’re getting a personal, one-to-one tutorial.
The book contains an impressive summary of theory, especially on plot – thousands of years’ worth of it - into readable and manageable form. You don’t have to go away and read Aristotle or Plato, because Thomas boils it down to what you need and presents it in a practical way. But, having been shown the way, it would guide you through what you need to know from these classics.
More than that, though, Thomas’ book is a rare gem: a guide to which can also be read by non-writers who want to understand the power of story. Some parts are a guide to creative processes in general: the chapter ‘How To Have Ideas’ comes out of Thomas’ research into ideation (idea generation) and is a brilliant method which could be put to use in everyday life (not just when planning novels). ‘How To Write A Novel’ somehow demystifies a process that our culture somehow turns into a dark art. Not that Thomas is saying it is an easy thing. Just that if you want to write and you think you have it in you, you can approach novel writing with a light heart. ‘If writing feels to you like a job or a chore, then your idea isn’t good enough. It’s as simple as that.’
Monkeys With Typewriters will have a prominent place on my ‘how to’ bookshelf from now on. And yes, I’ll be recommending it to everyone I know who writes and/or loves stories.
The book contains an impressive summary of theory, especially on plot – thousands of years’ worth of it - into readable and manageable form. You don’t have to go away and read Aristotle or Plato, because Thomas boils it down to what you need and presents it in a practical way. But, having been shown the way, it would guide you through what you need to know from these classics.
More than that, though, Thomas’ book is a rare gem: a guide to which can also be read by non-writers who want to understand the power of story. Some parts are a guide to creative processes in general: the chapter ‘How To Have Ideas’ comes out of Thomas’ research into ideation (idea generation) and is a brilliant method which could be put to use in everyday life (not just when planning novels). ‘How To Write A Novel’ somehow demystifies a process that our culture somehow turns into a dark art. Not that Thomas is saying it is an easy thing. Just that if you want to write and you think you have it in you, you can approach novel writing with a light heart. ‘If writing feels to you like a job or a chore, then your idea isn’t good enough. It’s as simple as that.’
Monkeys With Typewriters will have a prominent place on my ‘how to’ bookshelf from now on. And yes, I’ll be recommending it to everyone I know who writes and/or loves stories.
January 20, 2024
Don't judge me for having taken more than 6 months to complete this book. If you must know, I was absolutely savouring Thomas' theories - especially the first half. I consider the time it took to read and digest this to be similar to that of a full year course on creative writing. Bring on the 6 credits!
In Part 1, Thomas takes us through her university lectures about stories. First we deep dive into Plato, Socrates and Aristotle, learning about narrative, storytelling and plot. But, instead of being heavy going, Thomas brightens the lessons by using The Matrix, Supernanny, Toy Story and other modern works to illustrate her points. Suddenly, when compared to the emprisoned minds in The Matrix, Plato's Cave is a crystal clear concept. She goes through similar lectures on genre, the structure of story, character archetypes, tragedy and other 'basic' plots. Truly fascinating stuff.
In Part 2, Thomas introduces extremely practical 'how-to' lessons on writing. How I wish that I could have taken part in her creative writing lectures and workshops. She outlines what to do, how to do it and why it matters. Her lessons are applicable far beyond writing a novel. She shares information on how to delve into the superobjectives of each main character, the method of showing vs. telling and ways to outline ideas before sitting down to write.
I recommend this to anyone who writes. It will open your eyes to aspects of fiction that you either deleted from your own memory or never knew in the first place. Truly excellent.
In Part 1, Thomas takes us through her university lectures about stories. First we deep dive into Plato, Socrates and Aristotle, learning about narrative, storytelling and plot. But, instead of being heavy going, Thomas brightens the lessons by using The Matrix, Supernanny, Toy Story and other modern works to illustrate her points. Suddenly, when compared to the emprisoned minds in The Matrix, Plato's Cave is a crystal clear concept. She goes through similar lectures on genre, the structure of story, character archetypes, tragedy and other 'basic' plots. Truly fascinating stuff.
In Part 2, Thomas introduces extremely practical 'how-to' lessons on writing. How I wish that I could have taken part in her creative writing lectures and workshops. She outlines what to do, how to do it and why it matters. Her lessons are applicable far beyond writing a novel. She shares information on how to delve into the superobjectives of each main character, the method of showing vs. telling and ways to outline ideas before sitting down to write.
I recommend this to anyone who writes. It will open your eyes to aspects of fiction that you either deleted from your own memory or never knew in the first place. Truly excellent.
February 11, 2019
I don't think you need to be writing or ever have any intention of writing a book to enjoy Thomas' Monkeys with Typewriters. For anyone studying literature, or even film and screenplays in fairness, or people who love their literature and want an insight into the inner workings of fiction, this is well worth a read.
Scarlett Thomas is one of my favourite writers, and also a lecturer at some uni somewhere on creative writing. From her lectures on the various aspects of fiction writing, she has put together this book and very good it is too. There are two parts, theory and practice. On types of stories, what makes a story work, characters, voice, good and bad writing, getting started and so forth. She makes much reference to her own writing as well as several famous novels (classics and contemporary), film and even some tv programes. Because essentially stories are EVERYWHERE. You will find yourself analysing the book or film you're watching at the time and wondering what type of story it is. By the end of this you appreciate how much thought and work has to go into a novel, and just what an overwhelming achievement this is when its a good novel. Now, whether every one has to be conscious of planning every little detail that is explained in this book, or whether a whole lot comes naturally is an entirely different matter.
There's certainly plenty of tips, suggestions and food for thought in here. I sometimes felt as though it was saying 'my way is the only way' which I don't really agree with. People's minds work very differently. Not just on a level of I like yellow socks, you like striped socks, but how we view the world, how we experience, how we interpret, how we work... some people like months of prep for the best work, others work best under more pressure and limited time. So I'd take some of this book as suggestions rather than YOU MUST. For instance she suggests writing 250 words a day. Which may work for some people, but personally I couldn't think of anything worse. It makes it sound like homework, and why do you need to be watching the word count anyway? You should be too involved in your writing. Just have fun and let it flow. It doesn't even necessarily have to become a novel. She also makes a comment that seems to imply that everyone is writing for the readers even if they won't admit it - she is - and she can't understand why anyone would write just for themselves - for then where is the point of writing it down at all? Hmmm... see what I mean about different people's minds working in really different ways. Some people really do write for the pleasure of it, and just for themselves. And there's nothing wrong with that.
But yes, just a few minor niggles. Definately worth a read. Sadly, before I came to this I was reading one of her most recent books, The Seed Collectors (having read everything written prior to that. I did mention she's one of my favourites?) and I really didn't like it. It was all right for what it was, but it really wasn't the kind of story or characters I come to rely on Thomas for, so it was a disappointment. And there's another point. Quite a lot of this is simply a matter of personal taste. One man's treasure is another man's trash and all that...
Scarlett Thomas is one of my favourite writers, and also a lecturer at some uni somewhere on creative writing. From her lectures on the various aspects of fiction writing, she has put together this book and very good it is too. There are two parts, theory and practice. On types of stories, what makes a story work, characters, voice, good and bad writing, getting started and so forth. She makes much reference to her own writing as well as several famous novels (classics and contemporary), film and even some tv programes. Because essentially stories are EVERYWHERE. You will find yourself analysing the book or film you're watching at the time and wondering what type of story it is. By the end of this you appreciate how much thought and work has to go into a novel, and just what an overwhelming achievement this is when its a good novel. Now, whether every one has to be conscious of planning every little detail that is explained in this book, or whether a whole lot comes naturally is an entirely different matter.
There's certainly plenty of tips, suggestions and food for thought in here. I sometimes felt as though it was saying 'my way is the only way' which I don't really agree with. People's minds work very differently. Not just on a level of I like yellow socks, you like striped socks, but how we view the world, how we experience, how we interpret, how we work... some people like months of prep for the best work, others work best under more pressure and limited time. So I'd take some of this book as suggestions rather than YOU MUST. For instance she suggests writing 250 words a day. Which may work for some people, but personally I couldn't think of anything worse. It makes it sound like homework, and why do you need to be watching the word count anyway? You should be too involved in your writing. Just have fun and let it flow. It doesn't even necessarily have to become a novel. She also makes a comment that seems to imply that everyone is writing for the readers even if they won't admit it - she is - and she can't understand why anyone would write just for themselves - for then where is the point of writing it down at all? Hmmm... see what I mean about different people's minds working in really different ways. Some people really do write for the pleasure of it, and just for themselves. And there's nothing wrong with that.
But yes, just a few minor niggles. Definately worth a read. Sadly, before I came to this I was reading one of her most recent books, The Seed Collectors (having read everything written prior to that. I did mention she's one of my favourites?) and I really didn't like it. It was all right for what it was, but it really wasn't the kind of story or characters I come to rely on Thomas for, so it was a disappointment. And there's another point. Quite a lot of this is simply a matter of personal taste. One man's treasure is another man's trash and all that...
September 12, 2024
I do not intend to write a novel but it does interest me “How to Write Fiction and Unlock the Secret Power of Stories”. And I have read books by Stephen King and Asimov, Forster and Maugham that all promised to tell me something about the art of writing fiction.
These four men have in common that I know and liked (or at least respected in case of Forster) their work. Scarlett Thomas on the other hand I did not know.
But she did write reasonable successful novels and teaches Creative Writing. And she seems to have quite a lot to say on the subject. Starting with Aristotle. Hardly a bad start. Going to bed with Aristotle’s Poetics she recommends as a good idea.
But I am not sure I agree with everything she has to say. And indeed when she offers her list of eight basic plots I am a bit surprised. Tragedy, Comedy, Quest, Rags to riches, Coming of age, Stranger comes to town, Mystery, and Modern realism.
Isn’t this a clear example of a category mistake? (Or rather category confusion). It is like saying there are eight basic types of weather: Sommer, winter, rainfall, barbecue, hurricane, drought, what the weatherman is saying, and ice age.
I never thought I would say this, but I think Paulo Coelho is closer to the truth when he says that there are only two narratives, the voyage of discovery and a stranger comes to town. It is also wrong, I think, but at least consistent.
She thinks that in literary criticism the term omniscient is wrongly used. Because it is implied that e.g. in a first person narrative the author does not “occupy this god-like position. What nonsense.” No, it is not nonsense. When Hastings tells the story of some Poirot mystery he has no idea what is going on in the head of the master. He is not omniscient. It does not matter what the author knows.
Maybe Thomas did read too many Jackie Collins novels when she was young. (p. 301)
I am unfair, I know. There is also a lot of common sense in this book for example on characterization. And I liked her remarks about Liaisons Dangereuses.
But there is certainly more bad than good. And speaking of bad. She thinks that there is only one way to write bad fiction, but many ways to write good fiction. This is quite wrong, I think. The way Coelho and Dan Brown and Kant write badly is as different as the good writing of Balzac, Wodehouse and Bertrand Russell.
Finally, when it comes to writing, a lot depends on personal preference. She is of the opinion that this sentence by Sylvia Plath is brillant: The lawn was white with doctors. I think it is awful. How about this one (by William Gibson): The sky above the port was the colour of television, tuned to a dead channel. She thinks it is great, I think it is terrible.
Let me put it this way, I do not think it is likely I will pick up one of her novels.
These four men have in common that I know and liked (or at least respected in case of Forster) their work. Scarlett Thomas on the other hand I did not know.
But she did write reasonable successful novels and teaches Creative Writing. And she seems to have quite a lot to say on the subject. Starting with Aristotle. Hardly a bad start. Going to bed with Aristotle’s Poetics she recommends as a good idea.
But I am not sure I agree with everything she has to say. And indeed when she offers her list of eight basic plots I am a bit surprised. Tragedy, Comedy, Quest, Rags to riches, Coming of age, Stranger comes to town, Mystery, and Modern realism.
Isn’t this a clear example of a category mistake? (Or rather category confusion). It is like saying there are eight basic types of weather: Sommer, winter, rainfall, barbecue, hurricane, drought, what the weatherman is saying, and ice age.
I never thought I would say this, but I think Paulo Coelho is closer to the truth when he says that there are only two narratives, the voyage of discovery and a stranger comes to town. It is also wrong, I think, but at least consistent.
She thinks that in literary criticism the term omniscient is wrongly used. Because it is implied that e.g. in a first person narrative the author does not “occupy this god-like position. What nonsense.” No, it is not nonsense. When Hastings tells the story of some Poirot mystery he has no idea what is going on in the head of the master. He is not omniscient. It does not matter what the author knows.
Maybe Thomas did read too many Jackie Collins novels when she was young. (p. 301)
I am unfair, I know. There is also a lot of common sense in this book for example on characterization. And I liked her remarks about Liaisons Dangereuses.
But there is certainly more bad than good. And speaking of bad. She thinks that there is only one way to write bad fiction, but many ways to write good fiction. This is quite wrong, I think. The way Coelho and Dan Brown and Kant write badly is as different as the good writing of Balzac, Wodehouse and Bertrand Russell.
Finally, when it comes to writing, a lot depends on personal preference. She is of the opinion that this sentence by Sylvia Plath is brillant: The lawn was white with doctors. I think it is awful. How about this one (by William Gibson): The sky above the port was the colour of television, tuned to a dead channel. She thinks it is great, I think it is terrible.
Let me put it this way, I do not think it is likely I will pick up one of her novels.
July 6, 2020
I got through Part I of this book, which is 131 pages, in random intervals over about 7 days. I swallowed Part II, which is 228 pages, in one sitting. The difference between these two parts lies, I believe, in whom they are written for.
Part I of this book discusses the different types of plot in length, peppered with examples from both contemporary and classic novels, movies and TV Shows including Middlemarch, Gentleman Prefer Blondes and Sex in the City. If you are familiar with these references, it really can help to apply the point. She used examples from Plath's The Bell Jar, my favorite book, and this connection made me really "get" what she was talking about. But, when you're unfamiliar with one of them... good luck. At one point she provides detailed plot mapping between the two movies Gentleman Prefer Blondes and There's No Business Like Show Business. Call me an uncultured teenager, but I haven't seen either of these films and attempting to follow the 11 page discussion of them was difficult to say the least. Some people may be content reading her quick summaries and then diving into how they apply to theory, but as an annoying perfectionist, it was a struggle to stop myself from putting down the book and going to watch or read whatever she was referencing in order to fully understand the example. Besides, I feel as though Part I is directed towards people who want to understand stories and plots, not necessarily people who want to write. As Thomas explains, understanding plot types definitely aids in structuring plots of your own, but if you're picking this book up because you're expecting something similar to King's On Writing, I'd recommend you skim or even skip Part I.
Part II of this book, in my opinion, is invaluable. It reminded me of why I want to write in the first place, which you can sometimes forget after reading about the specifics of plot, language, and bad writing. Thomas provides a matrix to help get your creative juices flowing (which definitely helped me!), many hands on activities to demonstrate things like "the economics of word usage", and tips on characterization that got me thinking about whether I have a "super-objective" lurking in my unconscious. My favorite section was "Writing A Good Sentence". I know I’m definitely going to be rereading this part multiple times to remind myself of its divine advice. Overall, I would absolutely recommend!
(Also, sorry for the un-italicized book and movie titles. Usually I'm better about that type of thing but I can't figure out the formatting on here)
Part I of this book discusses the different types of plot in length, peppered with examples from both contemporary and classic novels, movies and TV Shows including Middlemarch, Gentleman Prefer Blondes and Sex in the City. If you are familiar with these references, it really can help to apply the point. She used examples from Plath's The Bell Jar, my favorite book, and this connection made me really "get" what she was talking about. But, when you're unfamiliar with one of them... good luck. At one point she provides detailed plot mapping between the two movies Gentleman Prefer Blondes and There's No Business Like Show Business. Call me an uncultured teenager, but I haven't seen either of these films and attempting to follow the 11 page discussion of them was difficult to say the least. Some people may be content reading her quick summaries and then diving into how they apply to theory, but as an annoying perfectionist, it was a struggle to stop myself from putting down the book and going to watch or read whatever she was referencing in order to fully understand the example. Besides, I feel as though Part I is directed towards people who want to understand stories and plots, not necessarily people who want to write. As Thomas explains, understanding plot types definitely aids in structuring plots of your own, but if you're picking this book up because you're expecting something similar to King's On Writing, I'd recommend you skim or even skip Part I.
Part II of this book, in my opinion, is invaluable. It reminded me of why I want to write in the first place, which you can sometimes forget after reading about the specifics of plot, language, and bad writing. Thomas provides a matrix to help get your creative juices flowing (which definitely helped me!), many hands on activities to demonstrate things like "the economics of word usage", and tips on characterization that got me thinking about whether I have a "super-objective" lurking in my unconscious. My favorite section was "Writing A Good Sentence". I know I’m definitely going to be rereading this part multiple times to remind myself of its divine advice. Overall, I would absolutely recommend!
(Also, sorry for the un-italicized book and movie titles. Usually I'm better about that type of thing but I can't figure out the formatting on here)
December 16, 2012
This is an engaging and thoughtful work on writing fiction, majoring particularly on analysis of plot and some of the nuts and bolts practicalities of how to write fiction, particularly a novel. Following Northrop Frye and Christopher Booker, Thomas identifies what she sees as the major basic plots that fiction writers can draw from – for her there are 8: tragedy, comedy, quest, rags to riches, stranger comes to town, coming of age, mystery and "modern realism" which can have plot in the same way that pretty much most of our lives have plots, that is not at all. All of which seems fair enough, and she offers enthusiastic readings of some great novels along the way.
I haven't read any of Thomas' novels, so can't comment on how well the teacher practises what she preaches, but most of the practical advice was clear and constructive – generating, testing and discarding ideas, entering into the truth of a character's experience, building up from scenes and so on. I found the discussion on writing a good sentence too reductive, though, because of her obvious preference for fairly plain, minimalist prose. The subjective judgements around what makes for "good" writing are not made as explicit as they could be, and I would have liked to have heard more about musicality and rhythm, balance and lop-sidedness – ways to sooth or unsettle a reader at the level of a sentence.
Over all, though, a useful read for aspiring writers trying to think more carefully about their craft.
I haven't read any of Thomas' novels, so can't comment on how well the teacher practises what she preaches, but most of the practical advice was clear and constructive – generating, testing and discarding ideas, entering into the truth of a character's experience, building up from scenes and so on. I found the discussion on writing a good sentence too reductive, though, because of her obvious preference for fairly plain, minimalist prose. The subjective judgements around what makes for "good" writing are not made as explicit as they could be, and I would have liked to have heard more about musicality and rhythm, balance and lop-sidedness – ways to sooth or unsettle a reader at the level of a sentence.
Over all, though, a useful read for aspiring writers trying to think more carefully about their craft.
August 16, 2018
Even having just finished this book I can tell it's going to be something I read over and over (and over...). This is a great building block for those learning to write, which I need to put onto a list of great building blocks to recommend to people. Thomas not only explores various aspects of creating and building a novel (or, more generally, fiction) but how to reach the point of creating and how we can witness it in fiction we already love. She helps us to see where to start building character, how to further it, and how it's used in works like Anna Karenina or Great Expectations.
Throughout the book there are interactive exercises for the potential writer to create ideas or engage with what good and bad writing is to them. There were a few points where I started to worry that the lessons would become "this is how you must write fiction" but she always manages to stop and remind us of our creative liberties and nearly endless possibilities.
I'm in a writing workshop right now (which she actually warns against in the last pages for reasons I entirely understand) and I wish I could shove this book into the hands of my classmates. It's not that I don't want to do the work of helping them figure out what they're doing- it's that Scarlett Thomas has found ways to express many of the things I already want to tell them.
Throughout the book there are interactive exercises for the potential writer to create ideas or engage with what good and bad writing is to them. There were a few points where I started to worry that the lessons would become "this is how you must write fiction" but she always manages to stop and remind us of our creative liberties and nearly endless possibilities.
I'm in a writing workshop right now (which she actually warns against in the last pages for reasons I entirely understand) and I wish I could shove this book into the hands of my classmates. It's not that I don't want to do the work of helping them figure out what they're doing- it's that Scarlett Thomas has found ways to express many of the things I already want to tell them.
January 12, 2016
This was amazing.
The greatest thing about it, I think, was that until the very end, she didn't tell you what to do. It was literally the embodiment of 'show don't tell' -- instead of saying, "Okay, so your book works like this? Then do this," she would talk about a type of plot through examples, by analysing another book or film, so that the plot wasn't abstract but was very concrete.
At times it's also downright funny, but it also raised a lot of questions. I was feeling great about my writing process until the last chapter, when I was suddenly overwhelmed by how much preparation she puts into writing novels before she starts ;) I realise my technique is somewhat unconventional, however. And who knows? Maybe I'll try this way next.
My copy was borrowed, but I'm going to have to get a copy for myself so that I can scribble all over it, highlight it, cover it in post-it notes ... she said so many great things that that's really the only way I can think of going about it. I'll definitely be revisiting sections of it whenever I'm stuck.
The greatest thing about it, I think, was that until the very end, she didn't tell you what to do. It was literally the embodiment of 'show don't tell' -- instead of saying, "Okay, so your book works like this? Then do this," she would talk about a type of plot through examples, by analysing another book or film, so that the plot wasn't abstract but was very concrete.
At times it's also downright funny, but it also raised a lot of questions. I was feeling great about my writing process until the last chapter, when I was suddenly overwhelmed by how much preparation she puts into writing novels before she starts ;) I realise my technique is somewhat unconventional, however. And who knows? Maybe I'll try this way next.
My copy was borrowed, but I'm going to have to get a copy for myself so that I can scribble all over it, highlight it, cover it in post-it notes ... she said so many great things that that's really the only way I can think of going about it. I'll definitely be revisiting sections of it whenever I'm stuck.
March 2, 2013
I firmly believe that certain writing craft books are needed at certain times in your career. Thanks to Cally Taylor's recommendation I fell upon this book at the right time for me. It works it's way through literary criticism, plot, characterisation, sentence structure and beginning a novel. At each section she gives concrete examples on why things work. which I found extremely helpful - especially on plot and characterisation. It wouldn't be a book I would recommend to a real beginner but it is ideal once you have a novel or two under your belt.
September 8, 2017
I dare not review this book.
But I like it.
Honest.
There's humour.
There is expressed experience.
There's a fear that if say anything more, it will come back to haunt me.. in some strange way..
No! Please don't hurt me!!!
But I like it.
Honest.
There's humour.
There is expressed experience.
There's a fear that if say anything more, it will come back to haunt me.. in some strange way..
No! Please don't hurt me!!!
June 12, 2021
This is not the best book I ever read, but that's not why I gave it five stars. I found it a truly different, compelling and helpful book on writing.
I've read a fair number of books on writing, even the acclaimed book 'On Writing' by Stephen King which seems to be so many people's bible.
The problem with many books on writing is mainly twofold, in my opinion. First, many regurgitate the same information and exercises. Write what you know, don't use too many adverbs, blah blah, and don't explain how to do this in a unique way. Well, after you've heard a thousand people giving you this advice the next thousand gets tiring. The problem is that people include it because it's good advice (I guess I would if I were writing a writing book) but it's ALL they say and they don't say it in a very interesting or innovative way, or give you interesting ways to combat or see the problem.
The next is far more subjective. The writers voice needs to speak to you. One reason, I believe, that Stephen King's writing book is so successful is because he's so successful outside his writing book and his voice speaks to people.
Scarlett Thomas and her approach spoke to me.
We all know the story of Monkeys with Typewriters and it was a cute way to start.
However after this Scarlett delves into discussing Plato's Cave and Aristotle's Poetics and its relationship to how to tell a story. As I'm a big fan of the ancient philosophers, I ate this section up and was hungry for more.
Soon after was the dissection of the Fairytale as an equation. I love analysing things and I love fairytales. She's got me again. This is my kind of person and I would love to sit down with her for a meal.
Part Two of the book is more about practical exercises. There are some truly unique exercises here, like the character matrix. Also her discussion of how to break down and understand a character, I found helpful.
I felt the discussion of a good sentence was more like brainstorming - I feel there is no real definition of a good sentence, it is what you feel sounds right. It is too tricky to define. It is like love - you'll know it when you feel it. You certainly know when you don't feel it. People have different ideas of sentences they fall in love with.
I remember reading a forum on best opening sentences of a novel and many quoted "The man in Black fled across the Desert, and the Gunslinger followed." by Stephen King (The Gunslinger, the Dark Tower) To me this is not a bad line, it's full of action and to the point, but it does not particularly hook me compared to many other opening lines in books but it's all about taste, isn't it?
Everyone has something that gets them really into a book. For an explosive start, I prefer something like "Ten days after the war ended, my sister Laura drove a car off a bridge." by Margaret Atwood (The Blind Assassin) I think it asks far more questions. But not everyone would agree.
And some of the best sentences are not that concise whereas some concise ones are rather ordinary. Sometimes the addition of some extra adds value to one reader whereas others find it unnecessary and annoying.
Oh well. Back to the whole "The Author Must Speak to You" bit and not every author can speak to everyone in the same way.
I recommend this book, but I guess everyone will get something different out of it. It's composed of two very distinct parts - the first analyses the story process and the second gives exercises and tips. I enjoyed both but some people might only be there for one of the parts. I do believe the parts can be read separately.
I've read a fair number of books on writing, even the acclaimed book 'On Writing' by Stephen King which seems to be so many people's bible.
The problem with many books on writing is mainly twofold, in my opinion. First, many regurgitate the same information and exercises. Write what you know, don't use too many adverbs, blah blah, and don't explain how to do this in a unique way. Well, after you've heard a thousand people giving you this advice the next thousand gets tiring. The problem is that people include it because it's good advice (I guess I would if I were writing a writing book) but it's ALL they say and they don't say it in a very interesting or innovative way, or give you interesting ways to combat or see the problem.
The next is far more subjective. The writers voice needs to speak to you. One reason, I believe, that Stephen King's writing book is so successful is because he's so successful outside his writing book and his voice speaks to people.
Scarlett Thomas and her approach spoke to me.
We all know the story of Monkeys with Typewriters and it was a cute way to start.
However after this Scarlett delves into discussing Plato's Cave and Aristotle's Poetics and its relationship to how to tell a story. As I'm a big fan of the ancient philosophers, I ate this section up and was hungry for more.
Soon after was the dissection of the Fairytale as an equation. I love analysing things and I love fairytales. She's got me again. This is my kind of person and I would love to sit down with her for a meal.
Part Two of the book is more about practical exercises. There are some truly unique exercises here, like the character matrix. Also her discussion of how to break down and understand a character, I found helpful.
I felt the discussion of a good sentence was more like brainstorming - I feel there is no real definition of a good sentence, it is what you feel sounds right. It is too tricky to define. It is like love - you'll know it when you feel it. You certainly know when you don't feel it. People have different ideas of sentences they fall in love with.
I remember reading a forum on best opening sentences of a novel and many quoted "The man in Black fled across the Desert, and the Gunslinger followed." by Stephen King (The Gunslinger, the Dark Tower) To me this is not a bad line, it's full of action and to the point, but it does not particularly hook me compared to many other opening lines in books but it's all about taste, isn't it?
Everyone has something that gets them really into a book. For an explosive start, I prefer something like "Ten days after the war ended, my sister Laura drove a car off a bridge." by Margaret Atwood (The Blind Assassin) I think it asks far more questions. But not everyone would agree.
And some of the best sentences are not that concise whereas some concise ones are rather ordinary. Sometimes the addition of some extra adds value to one reader whereas others find it unnecessary and annoying.
Oh well. Back to the whole "The Author Must Speak to You" bit and not every author can speak to everyone in the same way.
I recommend this book, but I guess everyone will get something different out of it. It's composed of two very distinct parts - the first analyses the story process and the second gives exercises and tips. I enjoyed both but some people might only be there for one of the parts. I do believe the parts can be read separately.
February 6, 2019
Also published on my blog.
I’ve actually had this for a couple of years as I read that a writer I like (I forget whom) used it and recommended it. And honestly, how can you not love that title? For me it will always be associated with that scene in HHG where Ford and Arthur have just been picked up by The Heart of Gold and Arthur is accosted by an infinite number of monkeys who want to talk to him about their Hamlet script.
Which brings me to a point about referencing things – which this book does A LOT. On the one hand it is very useful to see concrete examples and analysis of everything from classic literature to reality shows in order to gain a good understanding of how plot works and how basically everything fits into a relatively narrow subset of narratives and styles. On the other hand, if you don’t know the thing she is talking about, it loses its impact a little IMO. For instance I have not read Great Expectations (or if I have it’s so long ago that I don’t remember anything from it), and it is used throughout the whole book a lot as an example. Sure, she does go into some detail about the scenes she’s using to illustrate something, but it resonates a lot more if you’re familiar with the work. This is not really a criticism, just more of a heads up that what you get out of those sections is also somewhat dependent on what you have read/seen.
The book is divided into two sections, the first one of which is theory. Having studied literature in university the theory section was of course familiar, but it’s been quite a few years since I graduated and it was nice to get a recap. And if you have not done any literature studies this bit will definitely help you get an understanding of the basics.
The second section is about practice. From how to have ideas (which sounds a bit weird because why would you want to write if you don’t have ideas – but it’s useful to structure ideas you already have also), to how to write a good sentence, to how to actually start writing a novel. There’s a lot of this I wasn’t able to apply to my first draft (which is aaaalmost finished!) as I read the largest part of this book in the few days leading up to NaNoWriMo and then just wrote like a madwoman for all of November. I will say that it’s still useful advice further on in the process and also with an eye on revision. And I have no doubt I will return to this book in the future.
I do not agree with everything Scarlett Thomas says (like referring to Eternal Sunshine of the Spotless Mind as a comedy – I honestly feel that this is trying too hard to fit everything into the categories you have decided on) but I definitely found a lot of the book useful. And of course you can pick and chose what you want to adhere to.
It’s nice to get concrete advice on everything from plot, to sentence structure to how many words your novel should have from someone who has actually published novels. It’s full of useful information without getting heavy, and I like Thomas’s style. I am curious to read one of her novels now.
I’ve actually had this for a couple of years as I read that a writer I like (I forget whom) used it and recommended it. And honestly, how can you not love that title? For me it will always be associated with that scene in HHG where Ford and Arthur have just been picked up by The Heart of Gold and Arthur is accosted by an infinite number of monkeys who want to talk to him about their Hamlet script.
Which brings me to a point about referencing things – which this book does A LOT. On the one hand it is very useful to see concrete examples and analysis of everything from classic literature to reality shows in order to gain a good understanding of how plot works and how basically everything fits into a relatively narrow subset of narratives and styles. On the other hand, if you don’t know the thing she is talking about, it loses its impact a little IMO. For instance I have not read Great Expectations (or if I have it’s so long ago that I don’t remember anything from it), and it is used throughout the whole book a lot as an example. Sure, she does go into some detail about the scenes she’s using to illustrate something, but it resonates a lot more if you’re familiar with the work. This is not really a criticism, just more of a heads up that what you get out of those sections is also somewhat dependent on what you have read/seen.
The book is divided into two sections, the first one of which is theory. Having studied literature in university the theory section was of course familiar, but it’s been quite a few years since I graduated and it was nice to get a recap. And if you have not done any literature studies this bit will definitely help you get an understanding of the basics.
The second section is about practice. From how to have ideas (which sounds a bit weird because why would you want to write if you don’t have ideas – but it’s useful to structure ideas you already have also), to how to write a good sentence, to how to actually start writing a novel. There’s a lot of this I wasn’t able to apply to my first draft (which is aaaalmost finished!) as I read the largest part of this book in the few days leading up to NaNoWriMo and then just wrote like a madwoman for all of November. I will say that it’s still useful advice further on in the process and also with an eye on revision. And I have no doubt I will return to this book in the future.
I do not agree with everything Scarlett Thomas says (like referring to Eternal Sunshine of the Spotless Mind as a comedy – I honestly feel that this is trying too hard to fit everything into the categories you have decided on) but I definitely found a lot of the book useful. And of course you can pick and chose what you want to adhere to.
It’s nice to get concrete advice on everything from plot, to sentence structure to how many words your novel should have from someone who has actually published novels. It’s full of useful information without getting heavy, and I like Thomas’s style. I am curious to read one of her novels now.
March 26, 2021
Not bad as a how-to guide for first-time writers. Scarlett T. writes in a friendly, chatty style. That informality inevitably leads to rambling. On the plus side, you feel she's talking directly to you and telling it straight from the heart. She's been in the trenches (teaches at Kent Uni) and has been published. So it's very much a down-to-earth, 'this is what worked for me' approach and it might work for you, too.
I see now that the advice is divided into 'Theory' and 'Practice'—very broad catch-alls. The theory bit takes the would-be writer back to different ideas about what storytelling consists of, from Plato's Cave and Aristotle's Poetics (highly recommended by the au.), through Russian Vladimir Popp's list of the multitude of steps in a decent story, to Northrop Frye's Five Basic Plots, Christopher Brooker's Seven Basic Plots, and the author's own Eight Basic Plots - until your head is spinning.
The 'Practice' half is more useful and more directive. There's a lot of advice on 'how to have ideas'— the au. has a 'matrix' system for coming up with them, and then there's a run-through of tenses and viewpoints, with some clear explanation of the Free Indirect Style. This is followed by advice on characterisation—for me, the meatiest section of all. In the chapter on How to Write a Good Sentence, I've underlined advice on metaphors, synecdoche, metonymy (I had no idea what the last two were). And finally, the au. returns to some advice about getting started, getting beyond the blank page, not joining a writer's group, saving your work securely, and persisting.
I'm still not certain what the author thinks of Monkey Theory - that mathematically proven suggestion that even monkeys could write Shakespeare, given enough monkeys and enough time and typewriters. Is she saying anyone can do it? Any human writer is better than a monkey—that's probably it.
In sum, an engaging and occasionally insightful guide, but be prepared to go with the flow, as it's uneven in quality, not always original, and quite disorganised (perhaps not surprisingly as the material is drawn from various lectures).
I see now that the advice is divided into 'Theory' and 'Practice'—very broad catch-alls. The theory bit takes the would-be writer back to different ideas about what storytelling consists of, from Plato's Cave and Aristotle's Poetics (highly recommended by the au.), through Russian Vladimir Popp's list of the multitude of steps in a decent story, to Northrop Frye's Five Basic Plots, Christopher Brooker's Seven Basic Plots, and the author's own Eight Basic Plots - until your head is spinning.
The 'Practice' half is more useful and more directive. There's a lot of advice on 'how to have ideas'— the au. has a 'matrix' system for coming up with them, and then there's a run-through of tenses and viewpoints, with some clear explanation of the Free Indirect Style. This is followed by advice on characterisation—for me, the meatiest section of all. In the chapter on How to Write a Good Sentence, I've underlined advice on metaphors, synecdoche, metonymy (I had no idea what the last two were). And finally, the au. returns to some advice about getting started, getting beyond the blank page, not joining a writer's group, saving your work securely, and persisting.
I'm still not certain what the author thinks of Monkey Theory - that mathematically proven suggestion that even monkeys could write Shakespeare, given enough monkeys and enough time and typewriters. Is she saying anyone can do it? Any human writer is better than a monkey—that's probably it.
In sum, an engaging and occasionally insightful guide, but be prepared to go with the flow, as it's uneven in quality, not always original, and quite disorganised (perhaps not surprisingly as the material is drawn from various lectures).
October 25, 2023
I should have known I was in trouble when I opened the book and looked at the appendices and notes. There were about 80 pages of them. It was a signal that Thomas would meander a bit and belabor a bit more. How well she does, especially when she talks about writing a novel. I did like the opening sections better than the closing ones. I do want to go to bed with Aristotle now and rediscover the eight basic plots. I'm not convinced the Thomas Matrix works that well for generating ideas. Thomas also uses too many bad sentences to talk about writing good ones. (I'd rather solely study the good ones.) This is not a how to write fiction book. It's a how Thomas writes novels book.
February 3, 2024
I was given this as a gift and loved it! It took me ages to read, not because it's not good - but because I'd read a page and then instantly want to go off and write something! Very inspiring with lots of practical ideas you can apply to your own writing. Some useful examples of texts (I must read more classics) that explain how good writing works. I didn't agree with everything she said, and she's quite didactic, although she does often admit that she gets it wrong. But I really enjoyed the book and will re-read it many times. A very interesting and useful read for an aspiring writer.
June 30, 2017
As a student studying the course that Scarlett Thomas teaches, (but at a different university) this was very helpful to gain another perspective and teaching style- to be clear, I like my tutors, it was just another perspective. Scarlett Thomas also introduced me to some new writing exercises that I've found very intriguing and useful, and I'm looking forward to having this in my library for many years to come
November 10, 2021
An easy read, like the debinling of the monkey and typewriter myth. Concentrates on what actually to do ina few but major areas, lots of examples. I still don't fully understand styles of narration but I loved the part on how to wrtie a good sentence. I would recommend as a read if you are starting out.lots of clear advice. If you are versed in advanced criticism and theory this might not add anythinbg to your knowledge
October 28, 2018
Great tips for budding, advanced and just crazy writers
I studied this book from an academic perspective and it really made me think more clearly about my writing. The approaches and techniques that Scarlett Thomas shares are fantastic and have really helped me develop my writing preparation.
I studied this book from an academic perspective and it really made me think more clearly about my writing. The approaches and techniques that Scarlett Thomas shares are fantastic and have really helped me develop my writing preparation.
February 5, 2019
It took me awhile to get through this book simply because it was so meaty. Very much like taking a course on writing, and if you are thinking of writing a novel you definitely should consider reading it. Thomas also uses various book excerpts, and since I had several of these books on my shelf I took some breaks to read them. (The Bell Jar; The God of Small Things) I can recommend this approach.
December 11, 2022
one of the best craft books I’ve read
I’ve got an MA in creative writing I really, really wish Scarlett Thomas had been on the faculty during the course - this book would have been a great start given she wasn’t. Even some 2 years on she’s clarified things I’ve been quietly puzzling over.
I’ve got an MA in creative writing I really, really wish Scarlett Thomas had been on the faculty during the course - this book would have been a great start given she wasn’t. Even some 2 years on she’s clarified things I’ve been quietly puzzling over.
September 24, 2017
Exercises are particularly useful
December 18, 2018
Great information for anyone who has ever thought about writing a novel.
January 16, 2019
Brilliant book. Very helpful and inspiring. Uses a good range of examples from classic literature to pop culture examples to support points.
December 28, 2020
A wonderful book about writing fiction! One of the best imho.
May 12, 2021
Now I really want to re-read Our Tragic Universe and The End of Mr. Y
January 11, 2022
great essential work for striving story-tellers
July 13, 2022
Incredibly useful for abotone wishing to develop their writing, from hobbyists to those pursuing writing as a career.
November 22, 2023
Very informative. Can see I'll be dipping in and out of this in the coming months.
April 13, 2024
Brilliant book. If anything finally pushes me to write a novel this will. Very highly recommended. Would love to be on her MA course 😃😃
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