Best Novels for Writers to ReadThe best novels for writers to read
<font color="#ffff00">The Great Gatsby / Tender is the Night by F. Scott Fitzgerald
Wellcome to The Writing Coach. I' m talking to the teachers, writers, editors, trainers and tutors who help writers and writers develop their arts, develop their audiences and their work. One of my clients recently asked me which novels I would suggest to demonstrate different facets of writing.
Thirteen novels that every author should read answer this one! Watch the audioguide now or read the full script below. Dear audience and welcome back to The Reviews Panel. When you hear the Podcast for the first in your life, welcome. But this is going to be another one of them because of one of my one-on-one coaches... I'm a typing trainer guy.
I' m dying to work with you to write your book. We' re going to be talking about 13 different volumes that I think every author should read. Every one of these works will show a different facet of a writer's trade, which I think is very important. I would like to say before we look at this that this is not a discussion about overthrowing the gun of English conventional music.
It is a podcasting about the author's work. Out of the hundred textbooks I have read in my lifetime, these were the ones that came to my minds as great illustrations, the best in various facets of the novelist' s work. I am a left-wing, knowledgeable, straight and straight man from Canada with a Master's in English lit.
And all my books options will be affected by this privileged location from which I come. And if you hear that and are an aborigine man or a homosexual man or lady for whom English is not your native tongue, make your own sample lists of your favourite authors.
They are simply the ones that I have resonated with, that I have read in my lifetime and that come to me as great illustrations of different facets of letter. Featuring this political right proclamation of the civil servant out of the way, let's delve into some great novels that every individual author should read.
So why should you read this one? It is one of the things every performer wants: this magic work of artwork in which everything simply works. All gelled where Fitzgerald was in his lifetime. Well, I don't want you just reading "The Great Gatsby." I' d also like you to read F. Scott Fitzgerald's successor to The Great Gatsby, this is Tender is the Night.
The Tender is the Night is a catastrophe of a novel. It is the sequel of what I would consider the greatest novel ever written in Englishspeaking languages. Many writers I know do this thing, comparing themselves not only to the greatest writers of all times, but also to a masterwork of the greatest one.
Sitting at home and saying, "Oh my God, my novel is a shit like The Great Gatsby. It' probably, but F. Scott Fitzgerald's successor was also a shit song as opposed to The Great Gatsby. In my opinion, it is really important that a author understands that there is a trade.
Had we all been able to rebuild it, we would have been beating every year, but there is something magic coming together in The Great Gatsby that is exactly the opposite in Tender is the Night. If you read both of them, you will not only be able to grasp the Great Gatsby mastermind, but it was also a coincidence in comparison with Fitzgerald's follow-up to it.
Next I would like to suggest is The Catcher in the Rye by J. D. Salinger. I' ve chosen this work because one of the greatest stakes I see emerging writers struggle with is the point of views. The point of views is such a fiddly aspect of the letter. Many first authors write a novel that doesn't even really understand what it is or how it works.
In The Catcher in the Rye, Holden Caulfield is our protagonist, and everything we see as a reader in this volume is screened through Holden's point of views. We' re there in Holden's mind, living the trip with him and the speech that Salinger uses, it's not Salinger's one. That'?s Holden's speech.
New York is the way it is described, the way Holden would use it to describe New York, not J. D. Salinger. They are often a little too possessed by the sound of their voices and what is their literary part. So, you can look at Hunter S. Thompson's letter for an example of a novelist whose tone is different from that of any other one.
and I know it's Hunter S. Thompson without anyone ever tell me. There are very few authors you could say that about. Aware that I followed The Catcher in the Rye with Fear and Loathing in Las Vegas because J.D. Salinger was an author for The New Yorkermagazine.
New Yorkers, to some degree, define a particular typewriting styles and literary liberals in New York City for much of the twentieth century. He was a rock and roll reporter who wrote for a counterculture journal. For all the splendour and intellect and wit you will find in the work of Salinger, I think you will find power and anger and just in your face power and attitudes that come out of Hunter S. Thompson's writings.
It' s so difficult to say: "What is your favourite textbook of all times? "But if I have to agree on one big volume, it's Mrs. Dalloway of Virginia Woolf. I would want you to read Mrs. Dalloway.
In a story that is told on a unique daily basis with only a few different personalities, it somehow capture the complex psychology of man's life in a beautiful writing. You' ll never find a more beautiful set of words than Mrs. Dalloway of Virginia Woolf.
This is the example I would look at if you wanted to see poetry at its best. If you want to see the complexities of psychology at their best. I' d like you to see some astonishing work. Mrs. Dalloway is held on a sole date.
It is an example of how story tellers can really slower down and appreciate every little cornhorn that beeps on the streets or every little thing that interacts when you buy a flor. That'?s what Mrs. Dalloway's about. It' about turning the little things in this world into magical things. Whereas Virginia Woolf decided to concentrate an entire novel on a singular date and mainly two or three protagonists, Marquez is covering a hundred years and seven generation of this unique group.
It is difficult to get across so quickly, but there is an astonishing work with the flexing and wrinkling of a hundred years of loneliness. It' such a great example of how you can use the speech to jump a hundred years forward and then come back and later on the same second for ten pages.
There is a lot of flexibility in timing. Mrs. Dalloway or One Hundred Years of Solitude are two great ways to learn how to keep up with the times as a novelist. A Farewell to arms as almost.... it's like Mrs. Dalloway and A Farewell to arm are somehow opposite ends of the same range.
They both somehow catch all these things in one book: affection, dead, war, people. As Woolf catches these things by toying with speech and making these twists in these long, fluid phrases, Hemingway catches the very opposite: by being extremely minimum. If, as a novelist, you are trying to make this choice about your writing styles, these are two volumes you might be looking for.
Do you wonder if I would rather be a Virginia Woolf author and have these long, fluid, poetic lines or if I would like to be a Hemingway author and tell things in a really straight and simple way? I' d say that both Mrs. Dalloway and A Farewell to Arm's are disastrous.
You as a novelist need to think about what your writing will be. It' actually a novel I didn't read at university or as a teen. It' not something you think it would be much more enjoyable to read, yet with Lolita, Nabokov has somehow built the ideal link between literature and all that kind of beautiful and intelligent stuff we call Mrs. Dalloway or even A Farewell to Arm' and business fictions that I really like.
One of these ledgers, which I like so much about them, is that they record so many different facets of their lives in a unique story. I' d say if you were a novelist, if you said: I like great literary or really powerful speech, great literacy, but I would also like to have a script of which one day they will make a film and which I can give to my mother to read or something....".
I mean, no, Lolita is no example, but it's a good example of a good example of a novel that fills the void between great written writings, but also all the things you'd look for in a big novel that tells great stories. It is just a great example of the conscious use of books and script.
While I think there have probably been many more revisions and edits than we fake with Kerouac, many of the authors I work with still work with are dealing with them. It is a good example for a novelist that sometimes it's not about making everything right.
Kerouac's own experience of living on the road. And if you are interested in reality, read The grape of anger by John Steinbeck. It is sometimes more touching to see a lone familiy starving to death. No. When you want to be realistic, when you want to rely on reality, but still want to be very mighty, take a look at The Grapes upon which John Steinbeck's version of John Steinbeck is known.
Want to see how fun it can be? You' re reading a fun one? Catch 22. Read Catch 22. What is interesting is that this is also a satirical film. It' an anti-war workbook. It is a textbook that points to the hypocrisies of time. It'?s the best drama ever.
And the best drama punches a hole in the state of the art. If you want to make fun of writing, look at Catch 22. If you don't want to read the whole volume, it's actually quite a long one, just read the first one. I' d say the first section is probably the funnest play of writing I've ever read.
It' a funny one. RTM And we discussed how Catch 22 has this policy orientation. And if you're interested in seeing literary as a biological gun, you should read about George Orwell in 1984. That'?s the next volume you want to see. When I was 13, I think I read this one.
This was the first one I read all evening. Orwell, who wrote this volume, allows us to look at some kind of hypocritical politics, at "alternative facts". "We can see how speech can be used by the rulers to rig the crowds and just tell lies to get away with their agendas.
When you are interested in the policy of literary art, when you are interested in producing a novel that is not just a play of conversation, but a weapons against the situation and against sneakiness. Born in 1984. This takes us to our last work. As an Ulysses author, what you can see in Ulysses is how shape tells history and reflections on the subject.
Now what you will see in Usysses is that James Joyce changes the complete way he writes from section to section to mirror the subject and the contents of this section. There is a section on the subject of soundtracks, for example. This section is full of song and rhythmical notation.
There is someone who is on the road during this section and that person's stick is knocking on the pavement. This stroll adopts a music like the subject of this section. Another section is about publication and the section is full of news. It' such a great example for writers that it's not about getting your vote.
Reread Odysseus and watch his shape. It' another one of those things that happens on a whole outing. Look at how different one section is from the next and how brilliant Joyce changes, how he types to see what's going on in the narrative he's about.
Tender is the night to see how brillant typing can be, but also what a coincidence it can be and how quickly something can go sour. You' ll see how a character's point of views can influence the history's langua. Mrs. Dalloway, my favourite textbook ever, for the poetic complexities and poeticism.
One hundred years of loneliness for how the fictional can rig the clock and use it. Farewell to Arms as a good example of a minimalistic style of work. On-the-road for an example of a flow of awareness that does not rethink itself too much. In 1984 for the use of literary as a biological warfare.
Muzzle 22 to see how fun reading can be. Joyce so that you can see how the shape an author uses, the phrases he chooses, how he reflects and emphasizes the styles he brings to a section, or how he can compete against what's going on in the narrative itself.
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