THE SUBVERSIVE COPY EDITOR by Carol Fisher Saller

The Subversive Copy Editor: Advice from Chicago is a 2009 book on editing by Carol Fisher Saller, a senior manuscript editor at the University of Chicago Press. The book’s subtitle is How to Negotiate Good Relationships with Your Writers, Your Colleagues, and Yourself, and this is Saller’s primary focus.

The Subversive Copy Editor is divided into two sections: one on dealing with the writer and working on behalf of the reader, and the other on working with colleagues. Saller’s advice, generally, is to take a common-sense and courteous approach to dealing with anyone and everyone. Her insight into the dynamics of the copy editor’s working relationships is probably the most valuable part of the book.

Much of the book seems geared toward new editors, and there’s a lot of basic, getting-started information here. On the whole, though, it isn’t very subversive – unless remaining calm and not killing yourself stressing out over minutiae is subversive.

Saller’s writing style is light and clever, and it makes this book generally enjoyable to read. Saller is also quick to discuss her own mistakes, which certainly helps the reader relate. Even if much of what she has to say isn’t profound, it’s nice to hear it from somebody who’s experienced and credible.

This is quite a short book, but the pace feels a little too leisurely at times, particularly as Saller seems to try to hit a number of disparate targets. Not everything in the book is for every copy editor, and few if any editors will find every chapter relevant or helpful. That said, though, most any editor can get something out of this book.

There’s nothing particularly groundbreaking here, but if you’re looking for an easy, common-sense book on copy editing, The Subversive Copy Editor is a winner.

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BIRD BY BIRD by Anne Lamott

Bird by Bird is a 1994 book on writing and life by novelist and writing instructor Anne Lamott. This is partly a book on writing and partly a memoir – obviously, when writers write books on writing, this is not an infrequent combination, although Lamott more or less melds them inextricably together – there is no "writing" section and "memoir" section.

There is relatively little in Bird by Bird on craft. Lamott gives a few tips on plotting, character and dialogue, but by and large she's more concerned with the writer's mindset (and telling her little stories). Lamott talks at length here about the writer's mindset, and this is where Bird by Bird makes good. She gets writing and the writing process, and she discusses it empathetically. Writers who experience anxiety, frustration and writer's block will relate to her, although she does seem to be more schizophrenic than most.

Lamott's style will turn some readers off. She is mildly humorous, but she tends to ramble on frequently, and readers who do not think she's particularly funny will find her writing style tiresome. Lamott talks often about God and spirituality, but she ascribes to an annoyingly vague and general mysticism.

Bird by Bird is going to be hit or miss with most people. If you're a writer looking for tips on craft, look elsewhere. If you're a writer looking for someone to sympathize with your travails and encourage you to keep at it, Lamott is it.

TAKE IT OR LEAVE IT

THE ART OF FICTION by John Gardner

The Art of Fiction is John Gardner's book on how young writers can improve their fiction writing. This book is divided into two sections: the first covers literary theory, and the second deals with technique, errors, and plotting. 

Gardner, who was a teacher as well as an author, is extremely high-minded. He sets very high standards for writing, which is good. But he's one of those people who thinks you need to take college courses in Shakespeare in order to appreciate Shakespeare. His instructions on writing naturally and not trying to write above yourself often come across as pretentious and hypocritical, as he gets pretty pretentious himself from time to time. 

So many talented writers who didn't study literature or fiction in a university may well throw out the first half of the book, and that's fine. The second half, however, can be of benefit to most anyone. Gardner covers frequent errors, technique, and plotting, giving specific examples and explaining things well. 

Gardner is obviously much more concerned with the Hemingways and Faulkners of the world than the Stephen Kings and Michael Crichtons. Fine; take this book for what it is. Separate the wheat from the chaff and The Art of Fiction has something to help most writers improve. 

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ON WRITING by Stephen King

I picked up On Writing because you can't do it much bigger than Stephen King has. Most books on writing are by grammarmongers or literary types, and I was interested to get the perspective of a writer of popular fiction. Previously, I'd only skimmed through Terry Brooks's Sometimes the Magic Works: Lessons from a Writing Life, but I don't think Terry Brooks is a very good writer, so that was the end of that.

Half the book is King's autobiography, and he focuses on the points in his life that he feels helped shape him as a writer. I felt like I didn't need most of this, although it was nice to know even Stephen King worked at some terrible jobs before he made it big. Those reading this book just for the writing lesson, and who care not for Stephen King, can skip this whole section, although there are some interesting tidbits on the publishing process.

King's points are several. The two keys to good writing, he says, are mastery of the fundamentals and hard work. A good writer should write all the time and read all the time. I agree with this.

King's strategy for writing is this: to come up with a foundational situation, not worry about the plot, and make it up as you go. There certainly is something to be said for this kind of writing, and it has a very romantic ideal, but I think this also explains why quite a few of King's otherwise-amazing novels have lame, deus ex machina endings.

On Writing is written in King's distinctive, conversational, foul-mouthed style, which is just as engaging in non-fiction, although he runs a bit long-winded at times. The book is pretty short, though, and it's a fairly quick read.

I can't say I learned anything new about writing, but I did have some concepts reinforced (like don't use dialogue attributions), and it was nice to hear it from the most popular novelist of our time.

King says you can't make a good writer great, and you can't make a terrible writer competent, but you can make a competent writer good. If that's you, then to you this book might just be

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