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The Art of Nonfiction: A Guide for Writers and Readers
This title has been removed from sale by Penguin Group, USA.
208 pages, Paperback
First published January 1, 2001
67 people are currently reading
823 people want to read
About the author
Ayn Rand
587 books10.3k followersPolemical novels, such as
The Fountainhead
(1943), of primarily known Russian-American writer Ayn Rand, originally Alisa Rosenbaum, espouse the doctrines of objectivism and political libertarianism.
Fiction of this better author and philosopher developed a system that she named. Educated, she moved to the United States in 1926. After two early initially duds and two Broadway plays, Rand achieved fame. In 1957, she published Atlas Shrugged , her best-selling work.
Rand advocated reason and rejected faith and religion. She supported rational and ethical egoism as opposed to altruism. She condemned the immoral initiation of force and supported laissez-faire capitalism, which she defined as the system, based on recognizing individual rights, including private property. Often associated with the modern movement in the United States, Rand opposed and viewed anarchism. In art, she promoted romantic realism. She sharply criticized most philosophers and their traditions with few exceptions.
Books of Rand sold more than 37 million copies. From literary critics, her fiction received mixed reviews with more negative reviews for her later work. Afterward, she turned to nonfiction to promote her philosophy, published her own periodicals, and released several collections of essays until her death in 1982.
After her death, her ideas interested academics, but philosophers generally ignored or rejected her and argued that her approach and work lack methodological rigor. She influenced some right conservatives. The movement circulates her ideas to the public and in academic settings.
Fiction of this better author and philosopher developed a system that she named. Educated, she moved to the United States in 1926. After two early initially duds and two Broadway plays, Rand achieved fame. In 1957, she published Atlas Shrugged , her best-selling work.
Rand advocated reason and rejected faith and religion. She supported rational and ethical egoism as opposed to altruism. She condemned the immoral initiation of force and supported laissez-faire capitalism, which she defined as the system, based on recognizing individual rights, including private property. Often associated with the modern movement in the United States, Rand opposed and viewed anarchism. In art, she promoted romantic realism. She sharply criticized most philosophers and their traditions with few exceptions.
Books of Rand sold more than 37 million copies. From literary critics, her fiction received mixed reviews with more negative reviews for her later work. Afterward, she turned to nonfiction to promote her philosophy, published her own periodicals, and released several collections of essays until her death in 1982.
After her death, her ideas interested academics, but philosophers generally ignored or rejected her and argued that her approach and work lack methodological rigor. She influenced some right conservatives. The movement circulates her ideas to the public and in academic settings.
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Displaying 1 - 30 of 61 reviews
December 1, 2014
The first part was interesting, but it was also repetitive due to the editing. As a series of lectures a couple of weeks apart, the redundancy was probably helpful. Unfortunately, the editor was a true believer & didn't want me to miss a single gem of her wisdom. (I wonder if her adherents ever see the irony in their deification of her? Probably not. LOL!)
Many of her thoughts were obvious, since we seem to look for the same things in nonfiction. I owe a lot of that to her. I've always admired her writing, aside from her penchant for using $5 words where a nickle one would do. She's precise, if pedantic & breaks one of her own cardinal rules; keeping the subject simple & to the point. Of course, that's tough to do when she took on all nonfiction writing. It's a broad subject running from short essays to books. Various scopes require different approaches.
I wouldn't recommend this to nonfiction readers. At best, it's just going to make the failings of any essay or book that much more glaring. I don't think it will help with understanding of nonfiction any better, although she does make some good points about syllogism & other forms of faulty logic (or sleight of hand) that are used by so many snake oil salesmen. Still, if you didn't spot them before or are a believer in their particular medicine, I doubt this would change your mind. I didn't find anything new, she just codified them a bit better.
Nonfiction writers of all sorts would get a lot out of this, I believe. Rand was certainly a remarkable speaker & writer. Her logic is profound & intricate, even if it does reach too far beyond the human condition. Still, that's a good thing in nonfiction writing.
I was on the fence whether to give this 3 or 4 stars. Since she's so precise, I'm knocking it back to 3 due to it not really being for readers.
Many of her thoughts were obvious, since we seem to look for the same things in nonfiction. I owe a lot of that to her. I've always admired her writing, aside from her penchant for using $5 words where a nickle one would do. She's precise, if pedantic & breaks one of her own cardinal rules; keeping the subject simple & to the point. Of course, that's tough to do when she took on all nonfiction writing. It's a broad subject running from short essays to books. Various scopes require different approaches.
I wouldn't recommend this to nonfiction readers. At best, it's just going to make the failings of any essay or book that much more glaring. I don't think it will help with understanding of nonfiction any better, although she does make some good points about syllogism & other forms of faulty logic (or sleight of hand) that are used by so many snake oil salesmen. Still, if you didn't spot them before or are a believer in their particular medicine, I doubt this would change your mind. I didn't find anything new, she just codified them a bit better.
Nonfiction writers of all sorts would get a lot out of this, I believe. Rand was certainly a remarkable speaker & writer. Her logic is profound & intricate, even if it does reach too far beyond the human condition. Still, that's a good thing in nonfiction writing.
I was on the fence whether to give this 3 or 4 stars. Since she's so precise, I'm knocking it back to 3 due to it not really being for readers.
September 3, 2014
Great book! I recommend it for writers and those learning to write. Another great one is The Art of Fiction, by the same author.
This book complements Writing and Thinking, by Steadman and Foerster and The Elements of Style, by Strunk and White, as it teaches a rational approach to writing and style. Many of Rand’s statements on style echo those of these other authors; her assertion is that a writer should be clear and precise, and that style should never be forced, but instead will come naturally as a manner of expressing one’s self. Also, like these other authors, Rand emphasizes the importance of thinking clearly in order to produce clear writing, an in making an outline. Organization. Clarity.
I read this book seen years ago, four years ago, and again more recently. It was interesting to see which passages I underlined as important. The book was an easier read the last two times around, as I’d since internalized some of the concepts.
This book complements Writing and Thinking, by Steadman and Foerster and The Elements of Style, by Strunk and White, as it teaches a rational approach to writing and style. Many of Rand’s statements on style echo those of these other authors; her assertion is that a writer should be clear and precise, and that style should never be forced, but instead will come naturally as a manner of expressing one’s self. Also, like these other authors, Rand emphasizes the importance of thinking clearly in order to produce clear writing, an in making an outline. Organization. Clarity.
I read this book seen years ago, four years ago, and again more recently. It was interesting to see which passages I underlined as important. The book was an easier read the last two times around, as I’d since internalized some of the concepts.
August 29, 2009
Ayn said that what one needs for nonfiction writing is what is needed for life in general: an orderly method of thinking. Writing, she said, is literally only the skill of putting down on paper a clear thought, in clear terms.
She discussed subject and theme, creating an outline, writing the draft, floating abstractions, editing, style, book reviews and introductions, writing a book, selecting a title, and acquiring ideas for writing.
She contrasted an active psycho-epistemology (i.e. method of thinking) with a conforming one. She discussed the only way to learn, the only way to be independent. She stressed independent thinking and principles.
She discussed subject and theme, creating an outline, writing the draft, floating abstractions, editing, style, book reviews and introductions, writing a book, selecting a title, and acquiring ideas for writing.
She contrasted an active psycho-epistemology (i.e. method of thinking) with a conforming one. She discussed the only way to learn, the only way to be independent. She stressed independent thinking and principles.
January 27, 2025
Buku ini merupakan koleksi syarahan Ayn Rand yang dibukukan. Ia disusun mengikut tema dari bab memilih subjek, membentuk kerangka (outline) penulisan, mengaplikasikan falsafah tanpa berceramah mengenainya, proses penyuntingan sehinggalah kepada proses menulis buku, menulis ulasan buku, mencari idea dan memilih judul buku.
Dalam buku ini, Ayn Rand mengulas dengan cukup jernih dan jelas, mengenai tips-tips penting dalam penulisan bukan fiksyen.
Antara tips penting yang dititipkan ialah:
1. Perlu utamakan kejernihan (clarity) dalam penulisan berbanding lenggok bahasa, kosa kata dan istilah yang rumit.
2. Tulislah mengenai perkara yang kita benar-benar mahir dan kita ketahui dengan cukup mendalam dan meluas.
3. Proses berfikir dan mengumpul idea perlu diasingkan daripada proses penulisan supaya lebih banyak masa boleh dituangkan untuk menukang “tatabahasa” ketika proses menulis.
4. Kita perlu tahu lebih banyak daripada apa yang kita tuangkan di atas kertas. Untuk menulis sebuah buku, kita perlu mengetahui sekurang-kurangnya 10 buku mengenai topik tersebut supaya kita benar-benar selektif sewaktu menulis dan yakin mengenai tajuk yang kita kupas.
5. Ketika mencuplik “quotation”, perlu cuplik dengan istilah yang tepat dan tidak meleret. Batalkan hasrat tersebut sekiranya “quotation” itu panjang.
6. Ulas buku-buku agung kerana banyak gagasan dalam buku-buku agung yang tidak diangkat sewajarnya ke dalam fabrik masyarakat.
7. Ketika membuat resensi buku, ulas mengenai tiga perkara; i) “Nature” asal dan idea keseluruhan buku, ii) Kekuatan dan keunikan buku dan iii) Kelemahan buku.
8. Bentuk gaya penulisan yang tersendiri. Sewaktu kita bertemu dengan gaya penulisan yang indah, jangan plagiat. Cuba bentuk gaya penulisan kita yang tersendiri supaya lama kelamaan ianya sebati dalam karangan kita. Gaya penulisan itu dibentuk melalui praktis. (You acquire style by practicing).
Sekiranya anda meminati buku Dari Salina ke Langit Petang oleh SN A. Samad Said dan Karya Nan Indah oleh Faisal Tehrani, buku Ayn Rand ini turut menjanjikan kepuasan membaca yang hampir sama dengan kedua-dua buku tersebut.
Dalam buku ini, Ayn Rand mengulas dengan cukup jernih dan jelas, mengenai tips-tips penting dalam penulisan bukan fiksyen.
Antara tips penting yang dititipkan ialah:
1. Perlu utamakan kejernihan (clarity) dalam penulisan berbanding lenggok bahasa, kosa kata dan istilah yang rumit.
2. Tulislah mengenai perkara yang kita benar-benar mahir dan kita ketahui dengan cukup mendalam dan meluas.
3. Proses berfikir dan mengumpul idea perlu diasingkan daripada proses penulisan supaya lebih banyak masa boleh dituangkan untuk menukang “tatabahasa” ketika proses menulis.
4. Kita perlu tahu lebih banyak daripada apa yang kita tuangkan di atas kertas. Untuk menulis sebuah buku, kita perlu mengetahui sekurang-kurangnya 10 buku mengenai topik tersebut supaya kita benar-benar selektif sewaktu menulis dan yakin mengenai tajuk yang kita kupas.
5. Ketika mencuplik “quotation”, perlu cuplik dengan istilah yang tepat dan tidak meleret. Batalkan hasrat tersebut sekiranya “quotation” itu panjang.
6. Ulas buku-buku agung kerana banyak gagasan dalam buku-buku agung yang tidak diangkat sewajarnya ke dalam fabrik masyarakat.
7. Ketika membuat resensi buku, ulas mengenai tiga perkara; i) “Nature” asal dan idea keseluruhan buku, ii) Kekuatan dan keunikan buku dan iii) Kelemahan buku.
8. Bentuk gaya penulisan yang tersendiri. Sewaktu kita bertemu dengan gaya penulisan yang indah, jangan plagiat. Cuba bentuk gaya penulisan kita yang tersendiri supaya lama kelamaan ianya sebati dalam karangan kita. Gaya penulisan itu dibentuk melalui praktis. (You acquire style by practicing).
Sekiranya anda meminati buku Dari Salina ke Langit Petang oleh SN A. Samad Said dan Karya Nan Indah oleh Faisal Tehrani, buku Ayn Rand ini turut menjanjikan kepuasan membaca yang hampir sama dengan kedua-dua buku tersebut.
November 25, 2020
In this slim volume we have a fair presentation of Rand's personal advice to writing colleagues, as given in a series of 1969 meetings. She disposes of writers' block, self-doubt, self-censorship, and muddled thought as someone with long experience in facing these goblins. Of course her program is colored by the Objectivist philosophy, which is for her essential to independent thought. But the way she applies this to writers' problems is quite practical and probably cross-cultural. At times she shows hints of a "greed is good" ideology, which sounds slightly less prophetic these days. But then she plows ahead, delivering sound advice on writing style, organization, work habits, editing, selecting topics, or reviewing books, always telling the writer what is essential and what to ignore.
October 15, 2024
Much more than just a book on writing. Many of the principles and lessons in this book are applicable to all areas of life, especially Rand's study of the proper relationship between your conscious and subconscious mind.
December 2, 2018
This book is levels better than the other books about writing like Bird to Bird, it is precise and does not hesitate to state rules, without any clout of random feelings or expressions. It clearly states what she thinks is right and what she thinks is wrong and why, with a proper reasoning attached to it. I just loved the way the whole thing was handled. The author clearly states that writing needs to happen consciously, she also describes how it can be inculcated, at least the non-fiction, how you can understand the process and then become a writer and the importance of becoming a writer in this fashion i.e. with deliberate and explicit knowledge of the intermediate steps that are involved in the process as opposed to letting intuition take charge and going with the flow. Thats where the writer impressed me and moreover this book has not been written by Ayn Rand, it was actually extracted from her lectures by another woman, had it been written directly by Any Rand, we would have had a better understanding about her process, because she would have been able to put them in better words and in better sequences as opposed to a third party. This book is in the level of Stephen King's book - Writing: On Memoirs of a Craft; This book is a must read for anyone trying to compose articles, it has clear rules about style, clarity, precision, brevity, color, reporting, showing, telling, vocabulary, grammar and every aspect that is involved in composing an article along with editing, reviewing, theory, outlining, revising, ordering, punctuations, drafts, final versions, publishing and many others discussed at length. i just loved the way each one of them have been addressed. I just felt at one with the author. After reading a series of books which do not deserve a single star rating, I read this book and I has been able to revive my faith in good books. This has also helped me with my research about deciphering writers and writing. As I go through the explicit process of creating a writer out of myself, this book is one more milestone. But, during the process of rationality often Any Rand's objectivism seeps in but since the book has been taken out of her lectures it is bound to happen. She also explains that a writer must have a philosophy, without proper philosophy and rationality and writer cannot write good non-fiction. Thus she justifies her philosophy that continously seeps into the book. I found no problem with her objectivism, because I kind of like Ayn Rand's philosophy and her book Atlas Shrugged had a deep impact on my way of life. I like people who hate being politically correct and those who hate being apologetic. She stood with her truth and with rationality and thus this book is closer to reality than other such books and very concrete rules and calls for action, i.e. telling you what to do and what not to do.
Read
November 10, 2008From a series of informal lectures Rand gave in 1969. Someone recorded the lectures- Robert Mayhew organized them into this book. Rand was one self-confident person! She comes across as cocky at times- and intellectual snob. Good advice about the writing process in this book though.
May 31, 2017
Collated from prior presentations that Ayn Rand undertook, The Art Of Nonfiction is a straight forward foray into Rand’s considerations, techniques and process of writing nonfiction.
Written in a cogent and methodical fashion, some of the main points Rand addresses are (1) subject and theme, (2) creating an outline, (3) writing the draft, (4) editing, (5) style, which is addressed at length, and even (6) writing books as well. The prior list is not exhaustive, but merely a sampling of the range of ideas Rand undertook.
While some of the rules Rand expounds upon could be seen as mechanical if acted upon rigidly, they need not be. Writing is as much an art as it is a science; using the rules she suggests as guidelines will certainly help one’s writing in a sound manner, as long as one doesn’t fuse themselves to a mechanistic process.
Be that as it may, two of the main points which Rand stressed considerably were that of clarity, and the importance of an outline. These are two parts of writing which all writers struggle with sooner or later, but they are also components that will net some of the greatest benefits if one executes them properly.
On the point of clarity, Rand elucidates:
“If you cannot write something down clearly and objectively, then you do not really know it. Any vagueness or indecision on any fundamental aspect of your article will be disastrous. That which you cannot name you know only approximately.”[2]
Translation: Know what you know, know what you don’t know, and be crystal clear and precise about it.
Along the same avenue, on the point of outlines, Rand states:
“The Outline’s level of detail depends on how clear the subject is in your mind, and how complex the article is. I suggest the following test. If in making an outline you feel vaguely that some point is difficult to formulate though you “kind of” know what you mean, then you need more detail. On the other hand, if you begin to feel bored – if all you need are a few lines on some point but you are writing a volume – then you are being too detailed. As in all mental activity, you are the only judge.”[2]
For a book whose information wasn’t meant to be part of a book at the outset, it flows seamlessly. Given that The Art Of Nonfiction was collated from a set of oral lectures, the editing done by Robert Mayhew is extremely precise, and Rand’s thoughts are easy to follow.
For good measure, the book even includes selected outlines used by Ayn Rand in some of her articles. This helps the reader view an outline through Rand’s eyes. Though this section isn’t lengthy, the precision in execution is flawless and aids in the reader setting their crosshairs on what a correctly created outline format will look like.
In light of the breadth and scope of information provided in such a small package, The Art Of Nonfiction would be a mainstay in any nonfiction writer’s arsenal. Incisive individuals who wish to apprise themselves of sound writing tips that will be guideposts for their writing endeavors would be wise learn the tenets in these books, for they are as important as they are timeless.
___________________________________________________________
Footnotes:
[1] Ayn Rand, The Art of Nonfiction, p. 17.
[2] Ibid., pp. 44-45.
Written in a cogent and methodical fashion, some of the main points Rand addresses are (1) subject and theme, (2) creating an outline, (3) writing the draft, (4) editing, (5) style, which is addressed at length, and even (6) writing books as well. The prior list is not exhaustive, but merely a sampling of the range of ideas Rand undertook.
While some of the rules Rand expounds upon could be seen as mechanical if acted upon rigidly, they need not be. Writing is as much an art as it is a science; using the rules she suggests as guidelines will certainly help one’s writing in a sound manner, as long as one doesn’t fuse themselves to a mechanistic process.
Be that as it may, two of the main points which Rand stressed considerably were that of clarity, and the importance of an outline. These are two parts of writing which all writers struggle with sooner or later, but they are also components that will net some of the greatest benefits if one executes them properly.
On the point of clarity, Rand elucidates:
“If you cannot write something down clearly and objectively, then you do not really know it. Any vagueness or indecision on any fundamental aspect of your article will be disastrous. That which you cannot name you know only approximately.”[2]
Translation: Know what you know, know what you don’t know, and be crystal clear and precise about it.
Along the same avenue, on the point of outlines, Rand states:
“The Outline’s level of detail depends on how clear the subject is in your mind, and how complex the article is. I suggest the following test. If in making an outline you feel vaguely that some point is difficult to formulate though you “kind of” know what you mean, then you need more detail. On the other hand, if you begin to feel bored – if all you need are a few lines on some point but you are writing a volume – then you are being too detailed. As in all mental activity, you are the only judge.”[2]
For a book whose information wasn’t meant to be part of a book at the outset, it flows seamlessly. Given that The Art Of Nonfiction was collated from a set of oral lectures, the editing done by Robert Mayhew is extremely precise, and Rand’s thoughts are easy to follow.
For good measure, the book even includes selected outlines used by Ayn Rand in some of her articles. This helps the reader view an outline through Rand’s eyes. Though this section isn’t lengthy, the precision in execution is flawless and aids in the reader setting their crosshairs on what a correctly created outline format will look like.
In light of the breadth and scope of information provided in such a small package, The Art Of Nonfiction would be a mainstay in any nonfiction writer’s arsenal. Incisive individuals who wish to apprise themselves of sound writing tips that will be guideposts for their writing endeavors would be wise learn the tenets in these books, for they are as important as they are timeless.
___________________________________________________________
Footnotes:
[1] Ayn Rand, The Art of Nonfiction, p. 17.
[2] Ibid., pp. 44-45.
July 4, 2021
In this slim volume, Ayn Rand de-mysticizes writing and maintains that writing is a rational sphere governed by rationally identifiable principles.
She says, "What you need for nonfiction writing is what you need for life in general: an orderly method of thinking.”
She goes on to provide a clear guide to the process of writing from choosing a subject and theme to creating an outline, first draft, and editing.
One of the most interesting parts was her psychological analysis on the different roles played by the conscious mind and the subconscious in the process of writing i.e writing under the direction of the subconscious and then later consciously edit it. Also, how thinking objectively can help in problem-solving and performing complex tasks i.e by considering the epistemology and psycho-epistemology aspects of the mind.
A short and quite insightful book that will help one become a better thinker and hence a better writer.
She says, "What you need for nonfiction writing is what you need for life in general: an orderly method of thinking.”
She goes on to provide a clear guide to the process of writing from choosing a subject and theme to creating an outline, first draft, and editing.
One of the most interesting parts was her psychological analysis on the different roles played by the conscious mind and the subconscious in the process of writing i.e writing under the direction of the subconscious and then later consciously edit it. Also, how thinking objectively can help in problem-solving and performing complex tasks i.e by considering the epistemology and psycho-epistemology aspects of the mind.
A short and quite insightful book that will help one become a better thinker and hence a better writer.
December 11, 2024
There's a wide belief or assumption that one can't apply "pure reason" to art, creativity, morality, the mind... But then here comes Ayn Rand, just laying it all out to whoever might be listening.
Contrast "The Art of Nonfiction" with Steven Pressfield's famous "The War of Art"--an engaging and encouraging book on writing, discipline, and motivation--but when Pressfield talks about inspiration he must resort to "angels" and the mystical muse. It's read it with a straight face and considered a valiant attempt to explain the unexplainable, as we don't know any better.
Thankfully someone knows better. Ayn Rand understood the absolute value and utility of reason to illuminate reality, and as a result she was able to see what others could not.
Contrast "The Art of Nonfiction" with Steven Pressfield's famous "The War of Art"--an engaging and encouraging book on writing, discipline, and motivation--but when Pressfield talks about inspiration he must resort to "angels" and the mystical muse. It's read it with a straight face and considered a valiant attempt to explain the unexplainable, as we don't know any better.
Thankfully someone knows better. Ayn Rand understood the absolute value and utility of reason to illuminate reality, and as a result she was able to see what others could not.
July 11, 2019
Some time ago I heard the tapes of the class Ayn Rand taught on which this book is based. It was a fascinating experience, and put to rest the notion that Ayn Rand's literary tastes were narrow. Though she endorsed only a handful of writers in her book on esthetics, The Romantic Manifesto, she read widely and richly enjoyed a wide variety of fiction; a few that come to mind are Ben Hecht, Isak Dinesen, Noel Coward.
The advice to writers is illuminating for both writers and readers, and her account of ways in which writers procrastinate is hilarious--not an adjective one associates with Ayn Rand!
The advice to writers is illuminating for both writers and readers, and her account of ways in which writers procrastinate is hilarious--not an adjective one associates with Ayn Rand!
May 31, 2024
A step-by-step masterclass on creating a piece of non-fiction.
4.5/5
4.5/5
October 6, 2016
It took me a long time to get through this book mostly because, and I didn't know this before, Ayn Rand is kind of a dick.
In one breath, she advises writers to not use pejorative language and to be polite with their words if they are writing a review of a work with which they disagree. In the next breath, she accuses liberal writers of using confusing language in order to hide their evil beliefs that support dictatorship. She belittles individuals who use marijuana. She gives examples of other writers' work and then says why it isn't good writing, in very impolite ways.
This book was put together after Rand's death from notes from workshops and classes she organized. Based on the examples used, and the way the book is structured, it does not appear that Rand wanted to help anyone. It appears she wanted to further inflate her own ego. It was difficult for me to get past her self-indulgence to find helpful tidbits that are found in practically every other writing guide I've ever read.
Lastly, she wrote that you shouldn't attempt to write on a subject that you do not know about, but she clearly did not understand poetry since she wrote "Poems without rhymes are neither prose nor poetry. They are nothing." No, Ayn Rand. Just, no.
In one breath, she advises writers to not use pejorative language and to be polite with their words if they are writing a review of a work with which they disagree. In the next breath, she accuses liberal writers of using confusing language in order to hide their evil beliefs that support dictatorship. She belittles individuals who use marijuana. She gives examples of other writers' work and then says why it isn't good writing, in very impolite ways.
This book was put together after Rand's death from notes from workshops and classes she organized. Based on the examples used, and the way the book is structured, it does not appear that Rand wanted to help anyone. It appears she wanted to further inflate her own ego. It was difficult for me to get past her self-indulgence to find helpful tidbits that are found in practically every other writing guide I've ever read.
Lastly, she wrote that you shouldn't attempt to write on a subject that you do not know about, but she clearly did not understand poetry since she wrote "Poems without rhymes are neither prose nor poetry. They are nothing." No, Ayn Rand. Just, no.
January 20, 2011
Necessary. This book was one of the most powerful writing and reading craft books I have read thus far. Helpful. Insightful. A must read. And then, read it again. It is worth the time and money.
June 28, 2013
A lot of very solid advice, but particularly targeted to article-writing and other very specific forms that might limit the value to a general audience. That said, I learned quite a bit.
December 24, 2012
Favorite Quotes:
Contrary to all schools of art and esthetics, writing is something one can learn. There is no mystery about it.
In literature, as in all the fine arts, complex premises must be set early in a person's mind, so that a beginning adult may not have enough time to set them and thus cannot learn to write. Even these premises can be learned, theoretically, but the person would have to acquire them on his own. So I am inclined to say that fiction writing — and the fine arts in general — cannot be taught. Much of the technical skill involved can be, but not the essence.
However, any person who can speak English grammatically can learn to write nonfiction. Nonfiction writing is not difficult, though it is a technical skill. Its only difficulty pertains to a person's method of thinking or psycho-epistemology. What you need for nonfiction writing is what you need for life in general: an orderly method of thinking. If you have problems in this regard, they will slow you down (in both realms). But writing is literally only the skill of putting down on paper a clear thought, in clear terms. Everything else, such as drama and "jazziness", is merely the trimmings.
I once said that the three most important elements of fiction are plot, plot, and plot. The equivalent in nonfiction is: clarity, clarity, and clarity.
— Chapter 01: Prelimenary Remarks, page 2 — Tags: interesting
How good you become depends on your premises and interests, and on how much time you devote to writing. But the skill can be learned. It is not mysterious and does not have to be torture.
Remember this point, particularly when you feel you will never write again or know what writing is. That sense of helplessness is inherent in struggling with a new thought. But any particular writing problem you might have is solvable (though, as in any introspection, it is not always easy to identify your problem). Writing is no more difficult a skill than any other, such as engineering. Like every human activity, it requires practice and knowledge. But there is nothing mystical to it.
— Chapter 01: Prelimenary Remarks, page 3 — Tags: interesting
... In the presence of a given event, work of art, person, etc., too many Objectivists ask themselves, "What do I have to feel?" instead of "What do I feel?" And if they need to judge a situation which I have not discussed before, their approach is, "What should I think?" instead of, "What do I think?" This is the childhood remnant of anyone who to some extent was influenced either by the religion of the culture or, later in college, by Platonism. Both give the impression that the good, the important, the philosophical are like church on Sunday: you use them on special occasions, but they have nothing to do with daily life. If any part of this attitude remains in you, it is important to eliminate it.
— Chapter 04: Applying Philosophy Without Preaching It, pages 29-30 — Tags: enlightening, interesting
There can be no compromise between a property owner and a burglar; offering the burglar a single teaspoon of one's silverware would not be a compromise, but a total surrender—the recognition of his right to one's property. What value or concession did the burglar offer in return? And once the principle of unilateral concessions is accepted as the base of a relationship by both parties, it is only a matter of time before the burglar would seize the rest. As an example of this process, observe the present [1962] foreign policy of the United States.
There can be no compromise between freedom and government controls; to accept "just a few controls" is to surrender the principle of inalienable individual rights and to substitute for it the principle of government's unlimited, arbitrary power, thus delivering oneself into gradual enslavement. As an example of this process, observe the present domestic policy of the United States.
There can be no compromise on basic principles or on fundamental issues. What would you regard as the "compromise" between life and death? Or between truth and falsehood? Or between reason and irrationality?
— Chapter 05: Creating an Outline, pages 50-51 — Tags: interesting
If you write something at all complex, you will experience the squirms [sudden-onset mental paralysis] of one form or another. The main reason for it is a subconscious contradiction.
— Chapter 06: Writing the Draft: The Primacy of the Subconscious, page 64 — Tags: interesting
Solving the squirms [sudden-onset mental paralysis during writing] is perhaps the most painful part of writing. You must stop writing when they occur, but continue to work on the problem. To the best of my knowledge of psycho-epistemology, there is no other way out. The worst thing to do is to think that since it is a subconscious problem, you can take a rest, read a book, go to the movies—and let your subconscious resolve the problem. It will not. If you take a break of that kind, you prolong your agony. And the longer you postpone the problem, the less chance you have of solving it.
The problem can be solved, but it must be done consciously. You must sit at your desk and think about it, even when you feel you do not know what to think. For an exercise in free will and will power, this is the hardest thing you can demand of yourself, but it is the only solution.
— Chapter 06: Writing the Draft: The Primacy of the Subconscious, page 66 — Tags: interesting, useful
The greatest danger in regard to control over your writing is to memorize your first draft. That sets it in your mind as the final expression of what you want to say. As a result, you lose the capacity to evaluate or edit it, which requires that you be able to take a fresh look at your material. That is why the earliest you should edit your work is the next morning; editing requires a switch to a conscious process, which is a different mental set.
— Chapter 06: Writing the Draft: The Primacy of the Subconscious, page 75 — Tags: interesting, useful
If I get up in the morning and know, for example, that I have a four o'clock appointment, I cannot write that day. It is as if my mind closes down and will not work. If I do try to work, I dawdle, look at the clock, and get dressed for the appointment earlier than necessary, realizing that trying to write is useless.
— Chapter 06: Writing the Draft: The Primacy of the Subconscious, page 82 — Tags: interesting, useful
Too many people today think: “I'm a creative genius, I'm above grammar.” But nobody who thinks or writes can be above grammar. It is like saying, “I'm a creative genius, I'm above concepts.”—which is the attitude of modern artists. If you are “above” grammar, you are “above” concepts; and if you are “above” concepts, then you are “above” thought. The fact is that then you are not above, but below, thought. Therefore, make a religion of grammar.
— Chapter 07: Editing, page 101 — Tags: enlightening, interesting, useful
I once heard of a politician who committed political suicide when he put up the following campaign billboard: “My opponent has had eight years at the public trough. Now give me a chance.”
— Chapter 07: Editing, page 103 — Tags: funny
Americans are trained (through the look-say approach to reading and the allied, Dewey-based ideas of education) to be emotional approximators. The nonobjective, ungrammatical way in which people express themselves today is truly frightening. What has been systematically undercut is their capacity for objective communication. Americans tend to express themselves guided by feelings, not by thoughts. According to modern theory, there are no such things as thoughts; and even if there were, they could not guide us.
— Chapter 07: Editing, page 99 — Tags: interesting
In regards to [writing] a book, however, the danger is the tendency to expand your presentation into an encyclopedia. I said [in chapter 2] that you must delimit your subject when you write an article, despite the temptation to digress. That danger is much greater in a book. Since a book permits more detailed statements of a subject than does an article, a beginner might get the idea that he has the space to say anything — which quickly becomes everything. This kind of expansion is particularly problematic when your theme is broad; the broader your theme, the greater the temptation to include increasingly more subdivisions. The fact that a book does permit a certain latitude — the fact that it is like a complex orchestration with a central theme, the development of which permits a great many sub-themes — can make your book spread into total shapelessness.
— Chapter 10: Writing a Book, page 159 — Tags: interesting, useful
Someone once said that a writer's most important tool is scissors, by which he meant that a writer should never be afraid to cut his own work when necessary. I have never sympathized with this attitude, because I hold this premise as such an absolute that I do not think one should boast about it. Courage is not required if your purpose is to write a good article or book, and some beautiful passage does not fit into the total context. In such a case, there is no choice involved: of course, you make the cut. Acquire that kind of ruthlessness. Make your central value the total job, not any particular passage.
— Chapter 10: Writing a Book, page 162 — Tags: interesting
The purpose of teaching is not only to communicate knowledge, but also to instill a rational psycho-epistemology in one's students. If you analyze what a good teacher is doing, and why his students get so much out of his class, you will find that he is communicating the material in a certain order, which, by implication, trains his class to absorb knowledge rationally.
— Chapter 10: Writing a Book, page 166 — Tags: interesting
The most brilliant inspiration for a title of mine is Frank's suggestion of Atlas Shrugged, which is almost a mystery to me. I do not know how he made the integration, but it is brilliant, because it names in two words the essence of the book. When I ask him how he came up with the title, he could not explain it. It was purely inspirational; titles usually occur that way.
— Chapter 11: Selecting a Title, p. 169 — Tags: interesting
Contrary to all schools of art and esthetics, writing is something one can learn. There is no mystery about it.
In literature, as in all the fine arts, complex premises must be set early in a person's mind, so that a beginning adult may not have enough time to set them and thus cannot learn to write. Even these premises can be learned, theoretically, but the person would have to acquire them on his own. So I am inclined to say that fiction writing — and the fine arts in general — cannot be taught. Much of the technical skill involved can be, but not the essence.
However, any person who can speak English grammatically can learn to write nonfiction. Nonfiction writing is not difficult, though it is a technical skill. Its only difficulty pertains to a person's method of thinking or psycho-epistemology. What you need for nonfiction writing is what you need for life in general: an orderly method of thinking. If you have problems in this regard, they will slow you down (in both realms). But writing is literally only the skill of putting down on paper a clear thought, in clear terms. Everything else, such as drama and "jazziness", is merely the trimmings.
I once said that the three most important elements of fiction are plot, plot, and plot. The equivalent in nonfiction is: clarity, clarity, and clarity.
— Chapter 01: Prelimenary Remarks, page 2 — Tags: interesting
How good you become depends on your premises and interests, and on how much time you devote to writing. But the skill can be learned. It is not mysterious and does not have to be torture.
Remember this point, particularly when you feel you will never write again or know what writing is. That sense of helplessness is inherent in struggling with a new thought. But any particular writing problem you might have is solvable (though, as in any introspection, it is not always easy to identify your problem). Writing is no more difficult a skill than any other, such as engineering. Like every human activity, it requires practice and knowledge. But there is nothing mystical to it.
— Chapter 01: Prelimenary Remarks, page 3 — Tags: interesting
... In the presence of a given event, work of art, person, etc., too many Objectivists ask themselves, "What do I have to feel?" instead of "What do I feel?" And if they need to judge a situation which I have not discussed before, their approach is, "What should I think?" instead of, "What do I think?" This is the childhood remnant of anyone who to some extent was influenced either by the religion of the culture or, later in college, by Platonism. Both give the impression that the good, the important, the philosophical are like church on Sunday: you use them on special occasions, but they have nothing to do with daily life. If any part of this attitude remains in you, it is important to eliminate it.
— Chapter 04: Applying Philosophy Without Preaching It, pages 29-30 — Tags: enlightening, interesting
There can be no compromise between a property owner and a burglar; offering the burglar a single teaspoon of one's silverware would not be a compromise, but a total surrender—the recognition of his right to one's property. What value or concession did the burglar offer in return? And once the principle of unilateral concessions is accepted as the base of a relationship by both parties, it is only a matter of time before the burglar would seize the rest. As an example of this process, observe the present [1962] foreign policy of the United States.
There can be no compromise between freedom and government controls; to accept "just a few controls" is to surrender the principle of inalienable individual rights and to substitute for it the principle of government's unlimited, arbitrary power, thus delivering oneself into gradual enslavement. As an example of this process, observe the present domestic policy of the United States.
There can be no compromise on basic principles or on fundamental issues. What would you regard as the "compromise" between life and death? Or between truth and falsehood? Or between reason and irrationality?
— Chapter 05: Creating an Outline, pages 50-51 — Tags: interesting
If you write something at all complex, you will experience the squirms [sudden-onset mental paralysis] of one form or another. The main reason for it is a subconscious contradiction.
— Chapter 06: Writing the Draft: The Primacy of the Subconscious, page 64 — Tags: interesting
Solving the squirms [sudden-onset mental paralysis during writing] is perhaps the most painful part of writing. You must stop writing when they occur, but continue to work on the problem. To the best of my knowledge of psycho-epistemology, there is no other way out. The worst thing to do is to think that since it is a subconscious problem, you can take a rest, read a book, go to the movies—and let your subconscious resolve the problem. It will not. If you take a break of that kind, you prolong your agony. And the longer you postpone the problem, the less chance you have of solving it.
The problem can be solved, but it must be done consciously. You must sit at your desk and think about it, even when you feel you do not know what to think. For an exercise in free will and will power, this is the hardest thing you can demand of yourself, but it is the only solution.
— Chapter 06: Writing the Draft: The Primacy of the Subconscious, page 66 — Tags: interesting, useful
The greatest danger in regard to control over your writing is to memorize your first draft. That sets it in your mind as the final expression of what you want to say. As a result, you lose the capacity to evaluate or edit it, which requires that you be able to take a fresh look at your material. That is why the earliest you should edit your work is the next morning; editing requires a switch to a conscious process, which is a different mental set.
— Chapter 06: Writing the Draft: The Primacy of the Subconscious, page 75 — Tags: interesting, useful
If I get up in the morning and know, for example, that I have a four o'clock appointment, I cannot write that day. It is as if my mind closes down and will not work. If I do try to work, I dawdle, look at the clock, and get dressed for the appointment earlier than necessary, realizing that trying to write is useless.
— Chapter 06: Writing the Draft: The Primacy of the Subconscious, page 82 — Tags: interesting, useful
Too many people today think: “I'm a creative genius, I'm above grammar.” But nobody who thinks or writes can be above grammar. It is like saying, “I'm a creative genius, I'm above concepts.”—which is the attitude of modern artists. If you are “above” grammar, you are “above” concepts; and if you are “above” concepts, then you are “above” thought. The fact is that then you are not above, but below, thought. Therefore, make a religion of grammar.
— Chapter 07: Editing, page 101 — Tags: enlightening, interesting, useful
I once heard of a politician who committed political suicide when he put up the following campaign billboard: “My opponent has had eight years at the public trough. Now give me a chance.”
— Chapter 07: Editing, page 103 — Tags: funny
Americans are trained (through the look-say approach to reading and the allied, Dewey-based ideas of education) to be emotional approximators. The nonobjective, ungrammatical way in which people express themselves today is truly frightening. What has been systematically undercut is their capacity for objective communication. Americans tend to express themselves guided by feelings, not by thoughts. According to modern theory, there are no such things as thoughts; and even if there were, they could not guide us.
— Chapter 07: Editing, page 99 — Tags: interesting
In regards to [writing] a book, however, the danger is the tendency to expand your presentation into an encyclopedia. I said [in chapter 2] that you must delimit your subject when you write an article, despite the temptation to digress. That danger is much greater in a book. Since a book permits more detailed statements of a subject than does an article, a beginner might get the idea that he has the space to say anything — which quickly becomes everything. This kind of expansion is particularly problematic when your theme is broad; the broader your theme, the greater the temptation to include increasingly more subdivisions. The fact that a book does permit a certain latitude — the fact that it is like a complex orchestration with a central theme, the development of which permits a great many sub-themes — can make your book spread into total shapelessness.
— Chapter 10: Writing a Book, page 159 — Tags: interesting, useful
Someone once said that a writer's most important tool is scissors, by which he meant that a writer should never be afraid to cut his own work when necessary. I have never sympathized with this attitude, because I hold this premise as such an absolute that I do not think one should boast about it. Courage is not required if your purpose is to write a good article or book, and some beautiful passage does not fit into the total context. In such a case, there is no choice involved: of course, you make the cut. Acquire that kind of ruthlessness. Make your central value the total job, not any particular passage.
— Chapter 10: Writing a Book, page 162 — Tags: interesting
The purpose of teaching is not only to communicate knowledge, but also to instill a rational psycho-epistemology in one's students. If you analyze what a good teacher is doing, and why his students get so much out of his class, you will find that he is communicating the material in a certain order, which, by implication, trains his class to absorb knowledge rationally.
— Chapter 10: Writing a Book, page 166 — Tags: interesting
The most brilliant inspiration for a title of mine is Frank's suggestion of Atlas Shrugged, which is almost a mystery to me. I do not know how he made the integration, but it is brilliant, because it names in two words the essence of the book. When I ask him how he came up with the title, he could not explain it. It was purely inspirational; titles usually occur that way.
— Chapter 11: Selecting a Title, p. 169 — Tags: interesting
May 30, 2019
Regardless of whether you believe Ayn Rand to be the greatest of devils or foremost among geniuses, it's hard to deny that the woman knew how to write. Personally, I believe she was a better essayist than novelist, but I would still say this volume's companion, The Art of Fiction: A Guide for Writers and Readers, is still essential to fully understanding what's on offer here.
By itself, this little book would go a long way for college students both in the humanities and sciences. If Rand herself weren't so controversial in the intellectual scene, I could very well see this book being required reading for students at the university level. I say this because I can't tell you how much writing I've read from engineers, mathematicians, and others in the sciences who couldn't cohesively put their thoughts to paper to save their life. For those in the humanities, Rand serves up several reminders that your writing should be a reflection of yourself first and foremost, and is the only way to achieve your own original style. Don't emulate Stephen King, George R.R. Martin, or whoever or whatever else is en vogue, says Rand. Put your thoughts to paper, regardless of quality, and go back and touch it up/flesh it out later.
Those are just a few of the many principles Rand presents here, and they're hard to argue. Again, regardless of what you think of Rand, you will find in this book valuable insights into one of the most difficult tasks you can set your mind to.
By itself, this little book would go a long way for college students both in the humanities and sciences. If Rand herself weren't so controversial in the intellectual scene, I could very well see this book being required reading for students at the university level. I say this because I can't tell you how much writing I've read from engineers, mathematicians, and others in the sciences who couldn't cohesively put their thoughts to paper to save their life. For those in the humanities, Rand serves up several reminders that your writing should be a reflection of yourself first and foremost, and is the only way to achieve your own original style. Don't emulate Stephen King, George R.R. Martin, or whoever or whatever else is en vogue, says Rand. Put your thoughts to paper, regardless of quality, and go back and touch it up/flesh it out later.
Those are just a few of the many principles Rand presents here, and they're hard to argue. Again, regardless of what you think of Rand, you will find in this book valuable insights into one of the most difficult tasks you can set your mind to.
September 27, 2019
This book, which is actually an edited version of live lectures Rand gave in her apartment, is wonderful.
Rand goes through all the major elements of writing nonfiction and gives helpful advice about how to write clearly, how to organize your thoughts before writing, tips for editing drafts and much more! I’m definitely going to use a lot of the tips she provides in my future assignments for work—truly, if you’re working somewhere where writing articles is a portion of your job this book will be tremendously valuable. She doesn’t give rules—in fact, she acknowledges that anyone who attempts to give just a list of rules doesn’t understand the writing process—rather, she gives advice on how to handle the process of writing more effectively.
One caveat to the general reader, however, is that throughout the book (originally lectures) Rand was speaking to close associates and friends who shared her philosophical perspective. So she regularly uses examples from her own writing and philosophy. If you aren’t familiar with, or if you are opposed to, her philosophy you might find such examples less helpful than a more familiar reader. But these examples do not detract from the effectiveness of her presentation or the validity of her advice.
Rand goes through all the major elements of writing nonfiction and gives helpful advice about how to write clearly, how to organize your thoughts before writing, tips for editing drafts and much more! I’m definitely going to use a lot of the tips she provides in my future assignments for work—truly, if you’re working somewhere where writing articles is a portion of your job this book will be tremendously valuable. She doesn’t give rules—in fact, she acknowledges that anyone who attempts to give just a list of rules doesn’t understand the writing process—rather, she gives advice on how to handle the process of writing more effectively.
One caveat to the general reader, however, is that throughout the book (originally lectures) Rand was speaking to close associates and friends who shared her philosophical perspective. So she regularly uses examples from her own writing and philosophy. If you aren’t familiar with, or if you are opposed to, her philosophy you might find such examples less helpful than a more familiar reader. But these examples do not detract from the effectiveness of her presentation or the validity of her advice.
August 11, 2020
Whatever people make of Ayn Rand's political and philosophical ideas, there's no denying the value and insight of this analysis of the writing craft. Her delivery is dry, straight to the point, and self-referential, but her systematized approach to both outlining and editing offers a safety net that aspiring writers can fall back on as they work on their skills. Her encouraging words on the importance of not forcing inspiration when none exists rung true and inspiring–probably because I did not expect them given Rand's reputation. 'The Art of Nonfiction' merits the attention of writers who want to indulge and take pleasure in their craft. It's worth setting aside any preconceived notions which one might hold against the author since there is a lot of practical advice for those interested in building an incredibly prolific and successful writing career.
October 28, 2021
This is one of the most helpful guides to nonfiction writing I've read. It's better than the textbook in my editing and publishing Masters level course... If there's only one guide on nonfiction you read, it should be this one! It's useful for all sorts of nonfiction, though it mainly covers middle articles not how to articles or theoretical articles. That said, the info in the book is as applicable to writing autobiographical pieces such as my editing class required as it is to the sorts of articles I post to my blog. So nonfiction bloggers out there, if you're struggling with how to create quality content, give the book a read or a listen!
April 15, 2021
While I was never a fan of Rand’s philosophy I was always impressed with the quality of her writing so when I bumped into this book I was curious enough to pick it. While it wasn’t the most riveting read, it did have a refreshingly pragmatic take on writing: it is dependent on effort not on inspiration. Rand advises to build a “scaffold” for one’s writing so as to better determine from the outset the work that is needed to complete the project. Although I found her list of “don’ts” not quite as useful the book in its entire does seem like a useful reference to aspiring writers.
September 12, 2018
I already didn’t care to read this given Rand’s love affair with laissez-faire capitalism but figured that given it was a book on writing nonfiction, it would be a non-issue. Unfortunately, the book had a whole other set of problems - mostly due to editing - as the book is a reconstruction of Rand’s lectures on the subject. The first half was interesting but then it started to become repetitive; again poor editing.
July 31, 2019
After reading this book, I would like to meet Ayn Rand for coffee where she could convince me that I am already capable of everything without ever letting me forget that I am also a complete moron.
After reading this book, I would be first to register for her writing class and would find a way to live with wetting myself out of fear during her lectures.
After reading this book, I can’t wait to read everything else written by Ayn Rand.
After reading this book, I would be first to register for her writing class and would find a way to live with wetting myself out of fear during her lectures.
After reading this book, I can’t wait to read everything else written by Ayn Rand.
May 12, 2020
Although Rand can be quite rigid in her analysis she offers a solution that allows the reader to extract useful information. Her advice isn’t to be taken literally, or as she says “concretely”, but to be seen from its most abstract viewing. Her advice, when abstracted effectively, is very useful and applicable to both fiction and non-fiction. Perhaps she did this intently as she writes multiple times that concrete-mimicry is the sign of a “hack”- bad writer.
August 15, 2021
Surprisingly great. This is Ayn Rand at her best; talking about her craft—the thing she's good at—causes her to speak sense and be sympathetic to the real difficulties facing writers.
She takes seriously the role of the subconscious and is actually sympathetic to various writer's issues (such as writer's block, difficulty starting, and more). Goes into a lot of practical detail about how to solve these problems, with good solutions I haven't heard elsewhere.
She takes seriously the role of the subconscious and is actually sympathetic to various writer's issues (such as writer's block, difficulty starting, and more). Goes into a lot of practical detail about how to solve these problems, with good solutions I haven't heard elsewhere.
October 28, 2021
This is one of the most helpful guides to nonfiction writing I've read. It's better than the textbook in my editing and publishing Masters level course... If there's only one guide on nonfiction you read, it should be this one!
February 1, 2019
good advice to help you enliven your writing
April 13, 2020
This book is a collection of talks edited to supply Rand's thoughts on writing. There is some value, but the world isn't lost without it.
Read
May 15, 2020The only book I have read that provides detailed instructions for training our subconscious minds to do specialized work. (Napoleon Hill deserves honorable mention in this category.)
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