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All That You Should Know About Writing a Book Review

I never read a book before reviewing it; it prejudices a man so”. These famous words of Sydney Smith clearly tell us a truth regarding books-that reviewing a book is no less significant a task than actually writing it out! In our fast moving world, leisurely reading of books is turning out to be an odd habit. People find it increasingly difficult to spare time for reading books. Even if one really manages to spare time, one is at a loss to decide which book is to read. If the choice proves to be a bad one, the whole time is wasted. There comes the role of reviews, which can function as trusted guides that will take you to books that you will really love to read. And if you are really short of time, they can still give you a good taste of the books without your reading them!

Book Review-What It Is

Hence, reviewing books is a serious job that requires special stills. It involves first hand reading of the book followed by a critical analysis of it, which then should be passed on to the readers in an easily palatable form.

Kinds of Book Review

There are basically two kinds of book reviews. The first is personal review. It is usually done by those great readers of books who are just not satisfied by reading the books; they want to comment upon them, and tell others about their find. They are more creative, but usually very subjective and biased. The second kind is academic or professional review. It is a more serious exercise, where the reviews are done in a very professional way, employing analytical skills, critical thinking and objectivity. In higher education, students are required to do reviews of this kind. In magazines and journals, professional writers provide this type of reviews, which are often fine critiques of the books. If you ever want to do a good book review, you should learn how to do such a serious, academic review.

How to Write An Academic Book Review

Writing an academic book review requires some hard work. Your effort should involve the following things:

1) Read the Book:

It goes without saying. The first step towards reviewing a book is actually reading it from cover to cover. It should be an alert reading, capturing all the ideas the book can possibly convey.

2) Understand Your Readers:

You should clearly understand the requirements and appreciating capacity of your forget readers, and frame your review accordingly.

3) Summarize:

You should be able to provide a simple and clear summary of the book to the readers. They are primarily interested in this.

4) Bring Out the Theme:

A good review should help readers understand the theme of the book even before they go on reading it. It will greatly help them.

5) Provide Perspective:

It is probably the most important contribution a good book review can make. The reviewer should provide a critical analysis of the book, bringing out its main arguments and relating them to wider issues that may be of concern to the common reader. If you can take care of these elementary things, you should be able to do a really good book review.

Conclusion

Reviewing books is, in the last analysis, a literary exercise. Apart from knowing the how-to-do of it, one should have a taste for literature and also a good language in order to bring out quality reviews. Hence, before taking your first step towards writing a book review, stop a moment to ponder over these words of W.H.Auden: “One cannot review a bad book without showing off”!

Writing with Intention

As a writer, do you think of yourself as spontaneous, tapping into the ever-present flow at a moment’s notice? It’s a pretty image, but how often do you find yourself blocked or stuck when you try to create something from nothing? Let me share with you a shovel that can dig you out of this hole—the shovel of intention.

Writing with intention does not have to mean knowing exactly what you want. What intention does require is just one or more of the following:

•knowing how you would like to affect those who come into contact with your art/writing
•knowing what effect you’d like your work to have in the world
•knowing what qualities you’d like to work with
In this framework, your goals can be as focused or broad as you like. You can be very explicit (I want to write a description of the view of bay and maple trees from my bedroom window). You can provide a broad focus to your goals (I want to create a piece of writing that conveys my hopefulness that we can reclaim the sanctity of nature and become good stewards of the environment). Or you can give a very broad brush (I want to write something that gives people a sense of joy and playfulness, and that makes them laugh).

If you’re starting a new project and are unsure what you want to create, you might just think about the qualities you want to bring into your work. Do you want to be playful? Passionate? Irreverent? Wild? Provocative? Joyful? Soulful? I encourage my clients and students to invite these qualities (out loud) into their creative session. Often as we begin to invite such qualities they show up in our process, as well as the product.

When I first began collaborating with Peaco Todd on the anger book we eventually wrote with Jane Middelton-Moz (Good and Mad: Transform Anger Using Mind, Body, Soul and Humor), Peaco and I hit a few bumps in the road. Working on an anger book, perhaps we should not have been surprised when anger showed up in our collaboration.

In the process of improving communication between the two of us and developing a process for working together, we stumbled upon the idea of inviting certain qualities into the process and the book itself. We invoked qualities of healing, transformation and playfulness. Not only did the book take on a playful quality, but we found ourselves laughing and having fun as we worked. Dolphins showed up in our dreams. I bought a rose quartz dolphin to place by my computer. Peaco gave me a dolphin necklace.

Because of the intentional way we worked, our collaboration and friendship deepened in a lasting way. In addition, I’m convinced that this lively dolphin energy made it possible to write with lightness on a heavy subject, to have fun doing it and to inject some fun for our readers as they explore and transform their anger. What qualities would you like to invite into your work? Try something new for you—juiciness, serenity, sassiness, sexiness—make a list and have fun with it.

Exercise:

Ask yourself these questions:

1.What would I like my audience to experience as they read this piece? For example, perhaps you want people to feel empowered so that they are emboldened to take action.
2.What effect do I want this project to have on the community and what qualities might support such results? For example, if you want the work to contribute to a spirit of tolerance in your community, perhaps tolerance and peace are qualities you can invoke.
3.What qualities would make this project fun to work on, would enliven it and make it inspiring? In the example above, perhaps invoking humor would make it fun and help you reach your objectives.
Invoke those qualities from your answer to questions two and three. Invite Spirit or your Muse to support you in your intention and clearly state what you would like your project to accomplish. You may want to write an intention or mission statement for each project you work on. Read the statement aloud whenever you work on it. In this way, you reinforce your mission and goals and strengthen your ability to create something of profound effect.

Creativity Coach Gregory Huff tells me that he often invites qualities by putting on music to create the mood he wants to be in for the art he is creating. Other times he relies on the weather to set tone. I sometimes draw with pastels and place the drawing above my computer to invoke a quality. Other times, I place a rock or object nearby, my rose quartz dolphin being an example of both. Perhaps you can think of other ways to invite your chosen qualities.

When your work is viewed, read or experienced, notice what people say to you about your art or writing and how it affects them. Does their feedback often support the qualities you invoked when creating? Many people have told us that they were surprised to have such fun working with Good and Mad. Little did they know the dolphins were at work on that.

You may wish to keep notes about how the process of intention and inviting specific qualities affects your work. And, by all means, drop me a line and let me know how it works for you. I’d love to hear your stories of writing with intention.

Should You Attend a Creative Writing MFA Program?

Here’s the scenario: You have always wanted to become a writer and have considered getting a Master of Fine Arts (MFA) in creative writing but aren’t sure if you want to invest the time and money.

The question: Should I apply for an MFA program in creative writing?

The answer: It depends.

Instead of leaving it there, let’s examine this in detail and see if we can work through a process for making a good decision about whether or not an MFA program is right for you.

Creative writing (both fiction and creative non-fiction) is something that many of us want to do well, and if we can get paid for it, so much the better. While an MFA in creative writing is not required for success as a writer, focused study of the art and craft of writing will help most people. Of course, as I write this, there is a minority of writers – some with MFAs – who will say that an MFA program will hurt certain writers and detrimentally alter their specific style or creative uniqueness. While that may be true in a few cases, as a rule, most of us would benefit from focused training and awareness of writing that will come as part of an MFA program. An MFA program is a big investment in time (2-5 years depending on full or part-time attendance, and whether it is a traditional or low-residence program), and in money (from $15,000 – $35,000 for most programs).

In order to figure out if an MFA program is right for you, you have to seriously consider what your ultimate goal as a writer is. For example, an MFA in creative writing will benefit almost any writer in five ways:

1. It will make you feel like a writer and identify yourself as a writer. (This may actually be the most important thing an MFA program can do for a writer.)

2. You will have time to write, and you will in fact have external and internal deadlines imposed on you – you will have to produce material.

3. You will learn to give and receive well thought out criticism of a piece of poetry, fiction or creative non-fiction (depending on your program orientation).

4. Your writing will improve – if you work at it – because you will focus on improving your skill as a writer and will receive continuous, close feedback on how you are crafting specific work.

5. You will likely make some contacts through the program that may help you in submitting polished work, and, if this is your objective, finding employment in teaching or publishing.

Thus, most MFA programs will improve your writing and will give you a “terminal degree” that will allow you to either teach creative writing or work in publishing. A terminal degree means that the MFA is the accepted top-degree in the field of “creative writing”, and is the degree you need to teach at the college and university level. While there are a number of programs offering Ph.Ds in creative writing, the MFA is the mainstay and you don’t need a doctorate to teach or find employment.

All of the above are good things, and I would not want to talk anyone out of going down the MFA route if that is what they want, but if your goal in not academia or publishing work, then an MFA may not be the right route for you. There are as many (or more) successful writers without MFAs as there are with MFAs. Now, let’s examine some other routes to improving your writing that do not result in MFA degrees.

First, you have to examine critically, and as objectively as possible, where your specific level of writing is at, and what your weaknesses are. This critical self-assessment will allow you to work to find training and mentorship outside of an MFA program to improve your skills. Options to improve your writing are many, but a few are:

•Reading books on craft.
•Attending short workshops and classes (either online or in person).
•Attending a course in writing (this can be at a local college, community center, or a writing center.)
•Finding a mentor who is a more experienced writer or an editor.
•Joining or forming a critique group (this can be online or in person).
•Write a lot and try and improve with each piece you write.
Let’s face it, MFA programs are expensive and they take time. But for some, they offer the structure and the time needed to improve your writing and reach your goals. However, if you have a modicum of self-discipline and the internal fortitude to critically assess your weaknesses, you can design a program of seminars, conferences, and classes to make similar improvements that you would in an MFA program.

Graduation from an MFA program does not guarantee success, but no creative endeavors does. An MFA program (and I caveat this with saying, a “good MFA program”) will offer a pre-travelled path to improve your writing and gain the confidence and contacts to get you started as a writer. That said, in the end, you still have to sit down and write. An MFA program won’t do this for you. You have to get your butt in the chair and put words down on paper or up on your computer screen.

In the end, the decision on attending an MFA program or working on your own to improve your writing is a very individual one. Every writers situation will be different. However, with some focused thought and self-analysis, you can make the decision that is right for you. If you found this article helpful or would like to hear more on this topic, let me know at info@colewriting.com.