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On Writing Well: The Classic Guide to Writing Nonfiction
On Writing Well has been praised for its sound advice, its clarity and the warmth of its style. It is a book for everybody who wants to learn how to write or who needs to do some writing to get through the day, as almost everybody does in the age of e-mail and the Internet. Whether you want to write about people or places, science and technology, business, sports, the arts or about yourself in the increasingly popular memoir genre, On Writing Well offers you fundamental priciples as well as the insights of a distinguished writer and teacher. With more than a million copies sold, this volume has stood the test of time and remains a valuable resource for writers and would-be writers.
321 pages, Paperback
First published January 1, 1976
About the author
William Zinsser
45 books433 followersWilliam Knowlton Zinsser is an American writer, editor, literary critic, and teacher. He began his career as a journalist for the New York Herald Tribune, where he worked as a feature writer, drama editor, film critic, and editorial writer. He has been a longtime contributor to leading magazines.
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Displaying 1 - 30 of 2,302 reviews
October 17, 2015
It’s always intimidating setting out to write a review of a book on writing. One feels naked, exposed—now you have to prove that you’ve learned something. Lucky for me, I am a creature with little shame, so I’ll let my prose all hang out.
After reading Pragmatism by the American philosopher William James, I’ve realized that some American qualities cut deep. We are a people who love action and despise abstract argument. We like to see efficiency and real-world results. We set ourselves a goal and go straight for it. Perhaps this American temper is part of the “Protestant Ethic," made so famous by Max Weber. Whatever it is, it’s on full display here.
What Zinsser is doing in this book is applying a capitalist sensibility to prose. Keep it simple. Economize. Cut out the fat. Go straight for the point. Zinsser’s approach to writing is that of a factory owner seeking to improve his business model. This leads him to a straightforward adoption of the axioms of The Elements of Style. In fact, this book is hardly more than a commentary, expansion, and application of Strunk and White’s ideas.
I grow tired of this. The more I read, the more I realize that what constitutes good style cannot be put into a formula. It varies from person to person, from subject to subject, from country to country, and from age to age. Zinsser’s writing-style is nice enough. But I’m sure his conversational tone would sound coarse and inelegant to many readers. Where’s the poetry? Where’s the lofty argument and philosophical reflection? Of course, you can’t please everybody. What bothers me is that Zinsser doesn’t seem realize how provincial are his ideas.
What you will learn in this book is how to do a specific type of writing: journalistic nonfiction. It’s writing well-suited to its purpose—to provide entertainment and light education for casual readers. This is a great skill, and Zinsser has some great advice. If you have aspirations to work for a newspaper or a magazine—or even write a popular non-fiction book—I would highly recommend this book.
I have no problem with this kind of writing-style—my mother is a journalist. But it hardly runs the whole gamut of nonfiction. And for pretentious me, Zinsser comes across as a bit vulgar. His conception of language is narrow. He wishes only to hook the reader, crack a few jokes on the way, maybe include some light food for thought, and make a quick exit. It’s like an ad on TV. But often non-fiction writers have—dare I say it?—higher aspirations. And a quick-shooting, hard-hitting, punchy prose style just won’t do the trick.
I should temper my criticisms. I’ve read too much illegible academic scrawling to be insensitive to the value of concreteness and simplicity. As general rules, they’re safe to abide by. And if you are writing as a craft—a professional email for example—then you would do well to follow Zinsser’s advice.
Where this book falls short is Zinsser’s insensitivity to the artistic potential of the written word. He admits this himself
I commend Zinsser for his honesty. But for several genres of writing, an overly-literal mindset is a death-sentence. And in any genre, a great metaphor is worth fifteen spiffy sentences and peppy paragraphs.
At its best, non-fiction writing is more than chuckles and trivia—it can be just as profound as the best novel or poem. (Read The Decline and Fall of the Roman Empire if you don’t believe me.) Zinsser does have a chapter entitled “Nonfiction as Literature,” but it quickly becomes clear that he regards even Nabokov’s memoir as a kind of journalism.
So if you wish to read a snappy book on snappy writing, On Writing Well satisfies. But be warned: this is simply an elegant articulation of one philosophy of style. And there are as many different philosophies of style as there are great writers. And Zinsser is a good writer, not a great one.
After reading Pragmatism by the American philosopher William James, I’ve realized that some American qualities cut deep. We are a people who love action and despise abstract argument. We like to see efficiency and real-world results. We set ourselves a goal and go straight for it. Perhaps this American temper is part of the “Protestant Ethic," made so famous by Max Weber. Whatever it is, it’s on full display here.
What Zinsser is doing in this book is applying a capitalist sensibility to prose. Keep it simple. Economize. Cut out the fat. Go straight for the point. Zinsser’s approach to writing is that of a factory owner seeking to improve his business model. This leads him to a straightforward adoption of the axioms of The Elements of Style. In fact, this book is hardly more than a commentary, expansion, and application of Strunk and White’s ideas.
I grow tired of this. The more I read, the more I realize that what constitutes good style cannot be put into a formula. It varies from person to person, from subject to subject, from country to country, and from age to age. Zinsser’s writing-style is nice enough. But I’m sure his conversational tone would sound coarse and inelegant to many readers. Where’s the poetry? Where’s the lofty argument and philosophical reflection? Of course, you can’t please everybody. What bothers me is that Zinsser doesn’t seem realize how provincial are his ideas.
What you will learn in this book is how to do a specific type of writing: journalistic nonfiction. It’s writing well-suited to its purpose—to provide entertainment and light education for casual readers. This is a great skill, and Zinsser has some great advice. If you have aspirations to work for a newspaper or a magazine—or even write a popular non-fiction book—I would highly recommend this book.
I have no problem with this kind of writing-style—my mother is a journalist. But it hardly runs the whole gamut of nonfiction. And for pretentious me, Zinsser comes across as a bit vulgar. His conception of language is narrow. He wishes only to hook the reader, crack a few jokes on the way, maybe include some light food for thought, and make a quick exit. It’s like an ad on TV. But often non-fiction writers have—dare I say it?—higher aspirations. And a quick-shooting, hard-hitting, punchy prose style just won’t do the trick.
I should temper my criticisms. I’ve read too much illegible academic scrawling to be insensitive to the value of concreteness and simplicity. As general rules, they’re safe to abide by. And if you are writing as a craft—a professional email for example—then you would do well to follow Zinsser’s advice.
Where this book falls short is Zinsser’s insensitivity to the artistic potential of the written word. He admits this himself
I have an unbroken record of missing the deeper meaning in any story, play or movie, and as for dance and mime, I have never had any idea of what is being conveyed.
I commend Zinsser for his honesty. But for several genres of writing, an overly-literal mindset is a death-sentence. And in any genre, a great metaphor is worth fifteen spiffy sentences and peppy paragraphs.
At its best, non-fiction writing is more than chuckles and trivia—it can be just as profound as the best novel or poem. (Read The Decline and Fall of the Roman Empire if you don’t believe me.) Zinsser does have a chapter entitled “Nonfiction as Literature,” but it quickly becomes clear that he regards even Nabokov’s memoir as a kind of journalism.
So if you wish to read a snappy book on snappy writing, On Writing Well satisfies. But be warned: this is simply an elegant articulation of one philosophy of style. And there are as many different philosophies of style as there are great writers. And Zinsser is a good writer, not a great one.
July 14, 2017
Brilliant book!I definitely learned a lot of extremely useful advice from this book. I learned about the writing mistakes that I was making, and also how to enrich my own writing. Zinsser's tone and sense of humour made reading the book fun and interesting. This is the kind of book I would re-read every now and then for inspiration.
September 8, 2010
Zinsser's first few chapters talk solely about eliminating clutter and simplifying your work... yet his book is more than 300 pages of repetitive, hypocritical and lengthy sentences. This book could have been easily shortened to 50-100 pages. I was not a fan of his many examples (quite frankly, I skipped over most of them). Most of all, I wish Zinsser followed his own advice - simplify, and trust your material (don't feel the need to explain almost every single principle; we get it). The book, however, offered sound advice which I was lucky to dig out from the rest of the nonsense:
"Be yourself."
"Forget the competition and go at your own pace."
"Your only contest is with yourself."
"Never let anything go out into the world that you don’t understand."
"Never forget where you left your reader in the previous paragraph and what they want to know next."
"Your best credential is yourself."
"Decide what you want to do. Then decide to do it. Then do it."
"Be yourself."
"Forget the competition and go at your own pace."
"Your only contest is with yourself."
"Never let anything go out into the world that you don’t understand."
"Never forget where you left your reader in the previous paragraph and what they want to know next."
"Your best credential is yourself."
"Decide what you want to do. Then decide to do it. Then do it."
October 18, 2015
How do you learn to write, really, other than by writing. But now and then, it's good to pause and think about the art of good writing, the craft. This famous little book can be the reflective pause that will help you be care-full, love-full, with your work. The book is not just more of the same old stuff you've always heard. The advice given by the author is creative and his examples of good writing are informative and insightful. And because good writing is always connected to the inner life and moral depth of the author, much of what he says applies to the ultimate source of the written word: the writer's attitude, her attention and integrity. Don't let the "nonfiction" in the title deter you from reading this if you write fiction. The chapter on "travel writing" is an on-the-button presentation on the creation of "place" which is essential in fiction. Read slowly, let the humor and common sense of the author seep into your writing blood so that it may flow out spontaneously in your words. But maybe the best gift this book will give you is the sense that you, the writer, are but a humble, ordinary worker using skill, intelligence and heart to create something beautiful and true.
April 29, 2012
This book may have a few valuable suggestions throughout, but it is difficult to reap Zinsser's lessons through his sexism and eurocentrism. He uses his own work (Haircurl) in the "Humor" chapter for no good reason because he really doesn't do anything with it except to show that it is funny. Unfortunately, it is not funny, and it is actually quite offensively mocking women. In "A Writer's Decisions" he describes a piece he wrote with thickly layered romanticism about a desert tribe that exoticizes his subjects by using language like "ancient" "mystical" "natives". His use of language is definitely presenting his personae (something Zinsser encourages every writer to do), unfortunately his personae is a bourgeois anglophile. Though he is of German descent, "The Sound of Your Voice" is the clearest example of his disdain for "the other" as he praises English words and language used based on the King James Bible, Elizabethan period, and expresses disdain for verbs of Latin origin. Like I said, this book MAY have a few valuable suggestions, but there was nothing in it that I had not heard before and thus could probably find somewhere else where I would not have to endure Zinsser's sexist and eurocentric "humor".
May 5, 2023
O lucrare excelentă, un „clasic” al literaturii americane.
Cîteva recenzii au luat forma unui rețetar (ceea ce se numește în engleză „listicle”) și ne anunță: „Cele 10 reguli pentru a scrie non-ficțiune în formularea lui Zinsser”. Sau : „10 sfaturi pentru a scrie bine de la renumitul Profesor William Zinsser”.
Aș observa, înainte de toate, că nici un scriitor versat nu-și compune articolele sau proza urmînd întocmai regulile enunțate și comentate de cineva, oricît de prestigios și „legendar” ar fi. Din cîte am observat, regulile lui Umberto Eco nu se potrivesc deloc cu cele ale lui W.G. Sebald. Iar cele ale lui Ray Bradbury sînt la antipodul celor formulate de Zinsser, Eco și Sebald. Toate regulile sînt opționale. Și nu există reguli enunțate o dată pentru totdeauna (și pentru toți). Orice scriitor e obligat să-și creeze propriul set de reguli.
Și, în plus, nu există reguli pentru a scrie ficțiune, pe de o parte, și reguli pentru a scrie non-ficțiune, pe de alta. Regulile și exemplele lui William Zinsser (1922 - 2015) sînt valabile în toate cazurile (și pentru articolul academic, și pentru povestire, și pentru editorialul de ziar). Simplu și limpede trebuie să scrie, așadar, atît autorul de literatură, cît și ziaristul de la cel mai umil cotidian de provincie. Îndemnul de a revizui un text e valabil și esențial pentru scriitorii de ambe genuri și de ambe sexe: „Esența scrisului este re-scrisul” (p.7). Henry David Thoreau a lucrat la Walden) timp de 8 ani. Abia după a șaptea versiune a fost mulțumit.
De altfel, cînd își ilustrează așa-zisul canon, Zinsser transcrie pasaje din autori precum: Joan Didion (p.50-51), George Orwell (p.19), Tom Wolfe (pp.22), E.B. White (pp.27-28, 33), H.L. Mencken (pp.28-29, 54-55), Edmund Wilson (p.51) etc.
Sigur, cele mai multe reguli sînt respectate de unii și ignorate de alții. De pildă, preceptul de a citi cu voce tare ceea ce tocmai ai scris: Gustave Flaubert l-a urmat toată viața, Marcel Proust, nu. În paranteză fie zis, Mihai Eminescu o irita pe doamna Slavici tocmai din pricina acestui obicei. Scria noaptea (ceea ce Zinsser nu recomandă) și-și recita versurile „cu glas înalt”, deranjînd prețiosul somn al femeii.
Foarte important e îndemnul la simplitate. Propoziția nu trebuie încărcată cu adverbe și adjective. Acest țesut adipos se cuvine eliminat fără milă. De asemenea, e preferabil să evităm cuvintele pompoase, zornăitoare. William Zinsser privea cu maxim dispreț termeni ca: a impacta, a prioritiza, a implementa, a colapsa. Doar substantivul „reziliență” lipsește. Toate aceste cuvinte țin de jargon (p.39).
Cîteva recenzii au luat forma unui rețetar (ceea ce se numește în engleză „listicle”) și ne anunță: „Cele 10 reguli pentru a scrie non-ficțiune în formularea lui Zinsser”. Sau : „10 sfaturi pentru a scrie bine de la renumitul Profesor William Zinsser”.
Aș observa, înainte de toate, că nici un scriitor versat nu-și compune articolele sau proza urmînd întocmai regulile enunțate și comentate de cineva, oricît de prestigios și „legendar” ar fi. Din cîte am observat, regulile lui Umberto Eco nu se potrivesc deloc cu cele ale lui W.G. Sebald. Iar cele ale lui Ray Bradbury sînt la antipodul celor formulate de Zinsser, Eco și Sebald. Toate regulile sînt opționale. Și nu există reguli enunțate o dată pentru totdeauna (și pentru toți). Orice scriitor e obligat să-și creeze propriul set de reguli.
Și, în plus, nu există reguli pentru a scrie ficțiune, pe de o parte, și reguli pentru a scrie non-ficțiune, pe de alta. Regulile și exemplele lui William Zinsser (1922 - 2015) sînt valabile în toate cazurile (și pentru articolul academic, și pentru povestire, și pentru editorialul de ziar). Simplu și limpede trebuie să scrie, așadar, atît autorul de literatură, cît și ziaristul de la cel mai umil cotidian de provincie. Îndemnul de a revizui un text e valabil și esențial pentru scriitorii de ambe genuri și de ambe sexe: „Esența scrisului este re-scrisul” (p.7). Henry David Thoreau a lucrat la Walden) timp de 8 ani. Abia după a șaptea versiune a fost mulțumit.
De altfel, cînd își ilustrează așa-zisul canon, Zinsser transcrie pasaje din autori precum: Joan Didion (p.50-51), George Orwell (p.19), Tom Wolfe (pp.22), E.B. White (pp.27-28, 33), H.L. Mencken (pp.28-29, 54-55), Edmund Wilson (p.51) etc.
Sigur, cele mai multe reguli sînt respectate de unii și ignorate de alții. De pildă, preceptul de a citi cu voce tare ceea ce tocmai ai scris: Gustave Flaubert l-a urmat toată viața, Marcel Proust, nu. În paranteză fie zis, Mihai Eminescu o irita pe doamna Slavici tocmai din pricina acestui obicei. Scria noaptea (ceea ce Zinsser nu recomandă) și-și recita versurile „cu glas înalt”, deranjînd prețiosul somn al femeii.
Foarte important e îndemnul la simplitate. Propoziția nu trebuie încărcată cu adverbe și adjective. Acest țesut adipos se cuvine eliminat fără milă. De asemenea, e preferabil să evităm cuvintele pompoase, zornăitoare. William Zinsser privea cu maxim dispreț termeni ca: a impacta, a prioritiza, a implementa, a colapsa. Doar substantivul „reziliență” lipsește. Toate aceste cuvinte țin de jargon (p.39).
February 20, 2016
A straightforward guide to writing solid nonfiction. William Zinsser offers sound advice, including how to eliminate clutter and ways to target your audience. He spans several genres within nonfiction, ranging from sports writing to travel articles to memoir. He incorporates several example passages from his favorite writers and from his own work.
On Writing Well provided tangible, quality writing tips. It did not excite me, though. Zinsser has a somewhat eurocentric perspective and his writing selections often come from white men. His tone itself bored me as well - it did not irritate me, it just failed to provoke any emotion. Still, I give this book four stars based on its content, even if its voice did not stand out. Overall, recommended to those searching for a pragmatic, more technical book about writing nonfiction.
On Writing Well provided tangible, quality writing tips. It did not excite me, though. Zinsser has a somewhat eurocentric perspective and his writing selections often come from white men. His tone itself bored me as well - it did not irritate me, it just failed to provoke any emotion. Still, I give this book four stars based on its content, even if its voice did not stand out. Overall, recommended to those searching for a pragmatic, more technical book about writing nonfiction.
June 28, 2007
I always thought of the ability to write well as a gift more than a skill--kind of like hand-eye coordination, or rhythm. You either have it or you don't. It's not until I began working in the editorial world that I realized the writing which seems effortless is that which requires the most effort. Part of my training at this job required reading a quintessential work on nonfiction writing, William Zinsser's "On Writing Well" (30th Anniversary edition). I was warned that it's a slow burn--perhaps the opposite of the other book I've read on the writing process, Anne Lamott's "Bird by Bird." Zinsser's isn't littered with quirky anecdotes about his son's parasailing adventures or Buddhist friends or dreadlocks (only said with fondness, Annie). What Zinsser's book offered instead was practical and precise guidance on how to make the English language sing in your nonfiction writing.
Zinsser concentrates equally on the importance of technical mastery and original, honest ideas. On one hand, one must be able to convey information to his or her succinctly and clearly. This requires a breadth of knowledge on the ins-and-outs of English prose; grammar nerdiness doesn't hurt. (If you find yourself elated when you find someone else who uses the subjunctive tense, this book is for you.) Zinsser covers the variety of writing styles featured in most newspapers (i.e. sports writing vs. travel writing, common interest vs. international stories, etc.). But he also lays out suggestions on how to start the writing process as a writer-to-be. I especially enjoyed the section on how to make your personal story compelling as a memoir. I know everyone walks away from this book aspiring to become the next Tolstoy, but is this really such a silly aspiration?
Zinsser concentrates equally on the importance of technical mastery and original, honest ideas. On one hand, one must be able to convey information to his or her succinctly and clearly. This requires a breadth of knowledge on the ins-and-outs of English prose; grammar nerdiness doesn't hurt. (If you find yourself elated when you find someone else who uses the subjunctive tense, this book is for you.) Zinsser covers the variety of writing styles featured in most newspapers (i.e. sports writing vs. travel writing, common interest vs. international stories, etc.). But he also lays out suggestions on how to start the writing process as a writer-to-be. I especially enjoyed the section on how to make your personal story compelling as a memoir. I know everyone walks away from this book aspiring to become the next Tolstoy, but is this really such a silly aspiration?
March 12, 2019
A good book on writing non-fiction.
January 30, 2012
On Writing Well may primarily focus on non-fiction, but parts of it should be required reading for novelists, as well. Though, at first, Zinsser’s advice may seem anal–retentive and persnickety, it is great for keeping your work focused and making your sentences sharper.
The best part of On Writing Well focuses on“trimming the fat in the sentences you write. Zinsser provides a hand-edited page of his own On Writing Well manuscript as an example of how to cut down on useless words, and it is truly amazing to see how much even an expert writer like him can remove from his work without its losing any meaning or artistic merit. Not only should you eliminate useless words, but, according to Zinsser, you should also avoid using large words when smaller ones will suffice. I think this is especially good advice for fiction because, the easier a novel is to read, the more easily readers can lose themselves in it. I admit to being a fan of Lew Wallace’s Ben-Hur (which Zinsser despises for its verbosity), but I can certainly see his main point, which can be summed up as, “Easy reading is damn hard writing"—to quote Hawthorne. Some writers (i.e. Faulkner, Joyce, etc.) can get away with breaking the rules because, as Zinsser states, they were geniuses. But, for the rest of us, getting the point across succinctly is the best way to satisfy our readers, should we be lucky enough to have any.
Using active sentences as often as possible further helps make our writing more interesting, both in fiction and non-, and, of course, in fiction, you also need to provide readers with a “hook” in order to ensnare them in your narrative. Knowing the exact meanings of words causes readers to put faith in you, and it’s important not to misuse or confuse them. Zinsser recommends keeping a dictionary handy at all times, which is an idea I am trying to take to heart.
Zinsser’s view of writing is that it is hard, arduous work—something the fiction writer should keep in mind because people tend to get the wrong impression that writing fiction amounts to little more than daydreaming at a desk all day. Nothing could be further from the truth: Great writers must be extremely meticulous and precise in their art, both in regard to story and the proper use of the English language. Reading Zinsser’s book is pretty discouraging in that it focuses mostly on the aspects of writing that people find most boring, however important they may be. Serious writers will, however, find it indispensible.
The best part of On Writing Well focuses on“trimming the fat in the sentences you write. Zinsser provides a hand-edited page of his own On Writing Well manuscript as an example of how to cut down on useless words, and it is truly amazing to see how much even an expert writer like him can remove from his work without its losing any meaning or artistic merit. Not only should you eliminate useless words, but, according to Zinsser, you should also avoid using large words when smaller ones will suffice. I think this is especially good advice for fiction because, the easier a novel is to read, the more easily readers can lose themselves in it. I admit to being a fan of Lew Wallace’s Ben-Hur (which Zinsser despises for its verbosity), but I can certainly see his main point, which can be summed up as, “Easy reading is damn hard writing"—to quote Hawthorne. Some writers (i.e. Faulkner, Joyce, etc.) can get away with breaking the rules because, as Zinsser states, they were geniuses. But, for the rest of us, getting the point across succinctly is the best way to satisfy our readers, should we be lucky enough to have any.
Using active sentences as often as possible further helps make our writing more interesting, both in fiction and non-, and, of course, in fiction, you also need to provide readers with a “hook” in order to ensnare them in your narrative. Knowing the exact meanings of words causes readers to put faith in you, and it’s important not to misuse or confuse them. Zinsser recommends keeping a dictionary handy at all times, which is an idea I am trying to take to heart.
Zinsser’s view of writing is that it is hard, arduous work—something the fiction writer should keep in mind because people tend to get the wrong impression that writing fiction amounts to little more than daydreaming at a desk all day. Nothing could be further from the truth: Great writers must be extremely meticulous and precise in their art, both in regard to story and the proper use of the English language. Reading Zinsser’s book is pretty discouraging in that it focuses mostly on the aspects of writing that people find most boring, however important they may be. Serious writers will, however, find it indispensible.
Shelved as 'dnf'
January 2, 2023I would not recommend this to those who spend hours watching writing videos like moi.
If you still want to read it, hope it'll be more helpful to you.
If you still want to read it, hope it'll be more helpful to you.
March 27, 2008
One of the oldest ways to master a craft is through imitation and writing well is no different. Zinsser's book stands alongside Strunk & White's "Elements of Style" as one of the best guides on how to write clearly and effectively. The book's tone and style is much like a series of lectures from a professor who projects a sense of knowledge, warmth, and passion.
Zinsser illustrates many of his points through the use of personal anecdotes and examples culled from writers of different disciplines. They all point to two of writing's main sources of inspiration: people and places. Without these as a starting point, there is no entry point for the reader or for the writer.
What separates and ultimately elevates Zinsser's book from Strunk & White is that Zinsser delves into the mentality of the writer, how she or he can approach writing and make the crucial decisions, and how to apply such principles as espoused by Strunk & White. I found that Zinsser's most important point was that good writing comes from a desire to write well, repeated effort, and judicious editing.
Zinsser illustrates many of his points through the use of personal anecdotes and examples culled from writers of different disciplines. They all point to two of writing's main sources of inspiration: people and places. Without these as a starting point, there is no entry point for the reader or for the writer.
What separates and ultimately elevates Zinsser's book from Strunk & White is that Zinsser delves into the mentality of the writer, how she or he can approach writing and make the crucial decisions, and how to apply such principles as espoused by Strunk & White. I found that Zinsser's most important point was that good writing comes from a desire to write well, repeated effort, and judicious editing.
December 14, 2020
I don't understand. This book is just the letters W—E—L—L written over and over again, for three hundred pages.
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No? How about this then: It's not well known that the author was taken aback by several critical reviews of this book. He insisted that these were not factually accurate, particularly those written by female reviewers. He responded by publishing a sequel titled, "On Writing Actually".
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One particular bit of writing advice resonates with me, in the chapter on reviewing the arts:
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No? How about this then: It's not well known that the author was taken aback by several critical reviews of this book. He insisted that these were not factually accurate, particularly those written by female reviewers. He responded by publishing a sequel titled, "On Writing Actually".
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One particular bit of writing advice resonates with me, in the chapter on reviewing the arts:
The temptation to make a name at the expense of some talentless ham is too strong for all but the most saintly.That is factcheck: true.
October 19, 2022
I consumed it via audio version. Nice, short, intelligent book to bring clarity, bring simplicity, precision and humility to ones writing for a better connect with readers.
Being narrated by author added to the charm.
Being narrated by author added to the charm.
December 25, 2023
نحتاج الكتابة في الدراسة والعمل والعلاقات وكل ما يخطر ببالك..
والكتابة الجيدة ليست حكرًا على ذوي القدرات الإلهية في توظيف الكلمات، الجميع بحاجة إلى قدرٍ من الكتابة والجميع قادرون على التطوّر بما يكفي.
إذًا كيف تتعلم الكتابة؟
بإجبار نفسك على إنتاج عدد كلمات معين يوميا. لا سبيل آخر.
مهما قرأت من كتب أو درست كورسات:
لن تتعلم الكتابة إلا بالممارسة.
وخلال هذه الممارسة ضع في اعتبارك الآتي:
إعادة الكتابة هي أساس الكتابة.
أول مسودة سيئة في معظم الأحيان، ذلك يحدث مع الكاتب العبقري والنُص لِبة على حدٍ سواء. فلا تبتأس وحاول من جديد.
والكتابة الجيدة تقوم على أعمدة أربع:
1. الوضوح.
أنت مدين للقارئ بأفكار منظمة مفهومة وسهلة التتبع.
بالطبع تطبيق ذلك يجعل الكتابة أصعب ولكنه يسهّل القراءة.
2. البساطة.
لا داعي للفزلكة اللغوية أو التركيبات المعقدة، أنت كامل ورائع ولا تحتاج للتفاخر أو إثبات حفظك للقاموس المحيط.
3. الاختصار.
الكلمات القصيرة أفضل من الطويلة، والكتب ذات الصفحات الأقل أفضل من المجلدات التي لا تحتوي على شيء.
احذر الاسهاب، وتخلص من الحشو الذي يخنق النص الجيد كما تفعل الدهون بالعضلات.
واحرص على جعل كل مكوّن في النص يؤدي دورًا مفيدًا؛ يتقدم بالكتابة للأمام، يضيف معلومة أو يوضح إشكالًا.
4. الإنسانية.
الكتابة سلوك فردي يهدف للتواصل، لذا اكتب لنفسك، استمتع بالأمر كي يستمتع به القارئ، كُن على طبيعتك، وانفخ من روحك في الكلمات كي تصبح حية.
قد لا يهتم القارئ بالموضوع، ولكن حتمًا سيثيره اهتمامك به.
وإياك أن تكتب فقط لنيل
May 22, 2017
Writing a sufficiently well-written review for a well-written book about how to write well is a lot to write well.
So I'll write it well later.
So I'll write it well later.
May 6, 2020
On Writing Well provides advice on how to write non-fiction. It is logically organized into four sections: Principles, Methods, Forms, and Attitude. The first section covers the basics. It conveys tips on writing in a straight-forward uncluttered manner with emphasis on action verbs. The second focuses on organization, presentation, and structure. The third shows examples of different types of writing, such as travel, memoir, science, business, sports, arts, and humor. The last section explores finding your own voice. It covers intangibles such as setting high standards, gaining confidence, and taking risks. This book is geared toward writing in English, but the concepts can be applied to other languages.
Zinsser’s background, as a published author and former professor at Yale and Columbia, gives him credibility. The book is easy to read and understand. I particularly liked Zinsser’s analysis of writing samples, with suggestions for improvement. I smiled often at his use of humor: “Leave ‘myriad’ and their ilk to the poets. Leave ‘ilk’ to anyone who will take it away.”
Originally published in 1976, I read the 30th anniversary edition, which has been updated but still feels dated – such as references to printouts and word processors. The author holds strong opinions and states them forcefully. He also tends to repeat himself. Nevertheless, I discovered sound tools and techniques to incorporate into my writing. Life-long learners will value the content.
Zinsser’s background, as a published author and former professor at Yale and Columbia, gives him credibility. The book is easy to read and understand. I particularly liked Zinsser’s analysis of writing samples, with suggestions for improvement. I smiled often at his use of humor: “Leave ‘myriad’ and their ilk to the poets. Leave ‘ilk’ to anyone who will take it away.”
Originally published in 1976, I read the 30th anniversary edition, which has been updated but still feels dated – such as references to printouts and word processors. The author holds strong opinions and states them forcefully. He also tends to repeat himself. Nevertheless, I discovered sound tools and techniques to incorporate into my writing. Life-long learners will value the content.
November 9, 2019
Returning to On Writing Well some years after the last read-through is like reconnecting with an old friend. This was one of the first books I read when I really started to learn how to write (which, I might mention, happened after I‘d completed a bachelor’s degree, two master’s degrees, and a PhD; thank you, American higher education). William Zinsser’s clarity and winsomeness fueled my love of writing and editing, and looking at the book now, I’m almost startled to recognize how much of my editing personality came from Zinsser. I’ve worked with hundreds of clients on editing and proofreading, and I know that Zinsser’s wise guidance has benefited all of them.
What I still love about On Writing Well is the simple, direct, encouraging style Zinsser uses. He makes the writing process seem so natural and clear. He demystifies common ideas about the work and craft, making it seem like something I really can do. I also appreciate the range of his perspective. He finds something to love in all kinds of writing—memoir, humor, travel, sports, and others. That breadth pushes me to find the good in a wide array of genres, too. I wish Zinsser would have talked more about academic writing, but that wasn’t his forte; and much of what he does say would improve writing in the humanities.
Zinsser completed the final revision of On Writing Well in 2006, and nine years later he died. As much as I continue to love the book and Zinsser’s influence, I’m also sad in this read-through to see that the book’s other-era-ness is now hindering its potential to speak to writers today. There are some cringing moments when Zinsser writes about other cultures and subcultures, other places in the world, and women. And though Zinsser writes carefully about humor, his own sense of humor now feels dated and corny. (It’s hard to imagine that his Haircurl satire was ever funny.) Some of his guidance is so outdated that it’s now wrong—such as his advice about interviewing, in chapter 12.
What I’d like is a writer’s guide that is still much closer to On Writing Well than to A World Without “Whom,” but that takes into account the speed of language change, the influence of internet communication, and pop culture references and a sense of humor that fit into today’s world. Zinsser took a particular approach to writing—an approach that looks back especially to E. B. White, one of Zinsser’s heroes—to its limit; now I want to read someone with that same wisdom but situated in this moment.
I’ll be reading On Writing Well with students next semester, and I’m very curious to see how they respond to it. I hope they’ll be able to take advantage of all the good it offers, without being distracted by its shortcomings; and I hope Zinsser will be a friend to them in their writing journeys.
What I still love about On Writing Well is the simple, direct, encouraging style Zinsser uses. He makes the writing process seem so natural and clear. He demystifies common ideas about the work and craft, making it seem like something I really can do. I also appreciate the range of his perspective. He finds something to love in all kinds of writing—memoir, humor, travel, sports, and others. That breadth pushes me to find the good in a wide array of genres, too. I wish Zinsser would have talked more about academic writing, but that wasn’t his forte; and much of what he does say would improve writing in the humanities.
Zinsser completed the final revision of On Writing Well in 2006, and nine years later he died. As much as I continue to love the book and Zinsser’s influence, I’m also sad in this read-through to see that the book’s other-era-ness is now hindering its potential to speak to writers today. There are some cringing moments when Zinsser writes about other cultures and subcultures, other places in the world, and women. And though Zinsser writes carefully about humor, his own sense of humor now feels dated and corny. (It’s hard to imagine that his Haircurl satire was ever funny.) Some of his guidance is so outdated that it’s now wrong—such as his advice about interviewing, in chapter 12.
What I’d like is a writer’s guide that is still much closer to On Writing Well than to A World Without “Whom,” but that takes into account the speed of language change, the influence of internet communication, and pop culture references and a sense of humor that fit into today’s world. Zinsser took a particular approach to writing—an approach that looks back especially to E. B. White, one of Zinsser’s heroes—to its limit; now I want to read someone with that same wisdom but situated in this moment.
I’ll be reading On Writing Well with students next semester, and I’m very curious to see how they respond to it. I hope they’ll be able to take advantage of all the good it offers, without being distracted by its shortcomings; and I hope Zinsser will be a friend to them in their writing journeys.
April 16, 2021
I was a long time reading this - probably a year and half, all told. But as I neared the end, I didn’t want it to end - and that is something I’ve never said about any non-fiction book, and certainly never expected to say about a writing book. But the author’s voice is so lovely and conversational, and I learned so much so effortlessly. Hopefully I can I put some of it into practice, on the small writing projects I have! But even if I never intended to write a word, I’d always be glad I read this.
My homeschooled high schoolers will all be reading it as well.
My homeschooled high schoolers will all be reading it as well.
March 18, 2022
The true alchemists do not change lead into gold; they change the world into words. - William H. Gass
With On Writing Well, William Zinsser gives the reader an elegant guideline on how to change the world into words. Writing is a craft that can be practiced, and there are rules that govern the process. Just like architects have to do mulitple drafts of their work, authors have to do multiple drafts of theirs. There is always a word more fitting, a sentence more precise or a way to give the paragraph a better rhythm. There will always be a more poignant lead sentence or a more though-provoking ending.
The first draft of anything is shit.
― Ernest Hemingway
Besides rewriting, there are other guidelines that Zinsser suggests. Simplicity, or the absence of "clutter“, demands of the good writer to make their point as simple and precise as possible. This includes using simple words, but also just leaving out a lot. Adjectives are often clutter – grass is green without the writer telling the reader. A blue sky is something else, but a couch is cozy without adding the adjective. Many authors want to make their text as beautiful and rich with adjectives as possible - and leave the reader with the tiresome task of stripping away the clutter.
Substitute 'damn' every time you're inclined to write 'very;' your editor will delete it and the writing will be just as it should be.
― Mark Twain
When it comes to style, Zinsser provides adamn simple guideline: Think of writing for yourself. This will not only make your text authentic, but more coherent. When you write about your vacation and how you enjoyed it, and suddenly start copying an article on a sight you visited, the tone of your text will change dramatically and leave the reader confused.
Some readers may not like the way you are writing for yourself, but that’s not the issue. As a writer, you can’t please everybody – your goal should be to please only yourself. This is already hard enough, especially if you know a bit about writing and it’s arduous process.
No tears in the writer, no tears in the reader. No surprise in the writer, no surprise in the reader.
- Robert Frost
I read only the 20% of the book that cover the basics, which is more than enough for hobby writers. It was a quick read with interesting insights, many of which contradict what is taught in schools. Even if you are only interested in reading, this is certainly not a waste of time. Reading this book changed the way I read other books – I simply understood more of the precious craft of putting thoughts into words, and frankly, I am convinced that more writers should read this book before embarking on the demanding journey that is writing a book.
With On Writing Well, William Zinsser gives the reader an elegant guideline on how to change the world into words. Writing is a craft that can be practiced, and there are rules that govern the process. Just like architects have to do mulitple drafts of their work, authors have to do multiple drafts of theirs. There is always a word more fitting, a sentence more precise or a way to give the paragraph a better rhythm. There will always be a more poignant lead sentence or a more though-provoking ending.
The first draft of anything is shit.
― Ernest Hemingway
Besides rewriting, there are other guidelines that Zinsser suggests. Simplicity, or the absence of "clutter“, demands of the good writer to make their point as simple and precise as possible. This includes using simple words, but also just leaving out a lot. Adjectives are often clutter – grass is green without the writer telling the reader. A blue sky is something else, but a couch is cozy without adding the adjective. Many authors want to make their text as beautiful and rich with adjectives as possible - and leave the reader with the tiresome task of stripping away the clutter.
Substitute 'damn' every time you're inclined to write 'very;' your editor will delete it and the writing will be just as it should be.
― Mark Twain
When it comes to style, Zinsser provides a
Some readers may not like the way you are writing for yourself, but that’s not the issue. As a writer, you can’t please everybody – your goal should be to please only yourself. This is already hard enough, especially if you know a bit about writing and it’s arduous process.
No tears in the writer, no tears in the reader. No surprise in the writer, no surprise in the reader.
- Robert Frost
I read only the 20% of the book that cover the basics, which is more than enough for hobby writers. It was a quick read with interesting insights, many of which contradict what is taught in schools. Even if you are only interested in reading, this is certainly not a waste of time. Reading this book changed the way I read other books – I simply understood more of the precious craft of putting thoughts into words, and frankly, I am convinced that more writers should read this book before embarking on the demanding journey that is writing a book.
August 4, 2021
Unpleasant truth: very few of us write well.
This book is a strong start when you cannot define good writing, but you think you can produce it. I’m sure it will humble you. The author shares the most common writing mistakes — I started seeing them everywhere. He focuses on what to avoid if you want people to read your non-fiction.
For me, the most important message of the book is this: keeping the reader’s attention is the hardest thing to do. University didin’t teach me that; my work has always been read thoroughly and with care. But professors are paid to do it. Real readers are not. I only have few seconds to prove myself before they leave.
Even though the book was valuable to me, I only learnt what doesn’t work. The author didn’t address literary devices (alliteration, litotes, personification, etc.) that can enrich my writing and entertain the reader. Also, he barely discussed grammar, syntax and punctuation. No writing will be worth reading if it’s not grammatically correct (unless you are the next Bukowski).
So, it is a good start so you don’t embarrass yourself, but it won’t teach you the specifics of writing.
“Clutter is the disease of American writing. We are a society strangling in unnecessary words, circular constructions, pompous frills and meaningless jargon.”
This book is a strong start when you cannot define good writing, but you think you can produce it. I’m sure it will humble you. The author shares the most common writing mistakes — I started seeing them everywhere. He focuses on what to avoid if you want people to read your non-fiction.
For me, the most important message of the book is this: keeping the reader’s attention is the hardest thing to do. University didin’t teach me that; my work has always been read thoroughly and with care. But professors are paid to do it. Real readers are not. I only have few seconds to prove myself before they leave.
Even though the book was valuable to me, I only learnt what doesn’t work. The author didn’t address literary devices (alliteration, litotes, personification, etc.) that can enrich my writing and entertain the reader. Also, he barely discussed grammar, syntax and punctuation. No writing will be worth reading if it’s not grammatically correct (unless you are the next Bukowski).
So, it is a good start so you don’t embarrass yourself, but it won’t teach you the specifics of writing.
“Clutter is the disease of American writing. We are a society strangling in unnecessary words, circular constructions, pompous frills and meaningless jargon.”
October 18, 2019
Write for you because otherwise what you write becomes impersonal. Write for the reader because otherwise what you write becomes parochial.
I'm already a writer, so I didn't buy this book to learn how to write. I bought it to become a better writer. Maybe it will make me a better writer.
I admit that I'm inspired to write about topics that I previously have not touched. How can I fault a book that inspires me?
On the other hand, I had expected more concrete advice on how to structure my writing; how to make my point with clarity; how to advance an argument or lead the reader to a particular insight. There's not much of that here, but again I can't blame a book for not achieving a goal it never professes to have.
Distilled to essence, writing well is to write deliberately. Write, rewrite, prune, and rearrange; never lose sight of the reader. Use active verbs and nouns. Prefer short, precise, native words over pompous Latin or Greek words.
The book seems to be a collection of essays on non-fiction writing. They're easy to read, and contain much reasonable advice, but I don't feel that I learned much that I didn't already know.
I'm already a writer, so I didn't buy this book to learn how to write. I bought it to become a better writer. Maybe it will make me a better writer.
I admit that I'm inspired to write about topics that I previously have not touched. How can I fault a book that inspires me?
On the other hand, I had expected more concrete advice on how to structure my writing; how to make my point with clarity; how to advance an argument or lead the reader to a particular insight. There's not much of that here, but again I can't blame a book for not achieving a goal it never professes to have.
Distilled to essence, writing well is to write deliberately. Write, rewrite, prune, and rearrange; never lose sight of the reader. Use active verbs and nouns. Prefer short, precise, native words over pompous Latin or Greek words.
The book seems to be a collection of essays on non-fiction writing. They're easy to read, and contain much reasonable advice, but I don't feel that I learned much that I didn't already know.
February 14, 2019
Попри те, що "On Writing Well" в перекладі має жахливу назву, Дмитро Кожедуб виконав велику роботу. Всі граматичні нюанси й відповідні приклади тексту він адекватно переніс з англійської на українську. Щодо самої книжки, перший і другий розділи насичено конкретними порадами, якими можна і треба користуватися. Третій і четвертий – класичний американський нон-фікшн, нескінченна балаканина з чисельними прикладами з життя, які мають розважати й надихати читачів (і дратувати мене). Ставлю четвірку, бо перша третина варта страждань з рештою тексту.
July 27, 2015
A must read for those whose works relate to writing: students, teachers, businessmen, reporters, and of course, writers. Very useful tips along with very witty style. And above all, a man with high passion, virtue and responsibility with his job.
February 13, 2013
In my opinion this book, compared to Elements of Style, is like being transported to an entirely different world in itself. No longer is some taut professor (sorry, Mr. White and Mr. Strunk! I still love you.) slapping a ruler against the board, directing you what verbs to use and which tenses sound best, what constitutes as good language compared to language that is gaudy and overrated, only putting the ruler down by the last few minutes of class to speak calmly with you; if White and Strunk truly taught that way, then Zinsser's style is simple. Take away the ruler, throw out the board, pull up a chair and get to the point--staying true to yourself and your craft.
Not that Strunk and White weren't already amazing teachers--Elements of Style is a brilliant guide. I just feel more relaxed with Zinsser, as if he's some kindly old professor who's taught the same lesson over and over again and refuses to do it in the same drab style. He doesn't just teach you the steps; Zinsser lets you explore further, allowing yourself to question what you're about to write and how to approach it, whatever the genre may be for your article. Not a word is out of place, and he keeps the definitions and directions fresh in our minds with examples from all sorts of sources.
I may not write a lot of nonfiction in my life, but On Writing Well isn't just for people with a desire to write. It's for anyone who NEEDS to write, and that's practically every person in this whole country, let it be businessman or teacher or whatever other profession that someone can have.
There are so many quotes from this book that I can rattle on about, but I'll leave you all with the most recent quote that popped into my mind:
"But finally the purposes that writers serve must be their own. What you write is yours and nobody else's. Take your talent as far as you can and guard it with your life. Only you know how far that is; no editor knows. Writing well means believing in your writing and believing in yourself, taking risks, daring to be different, pushing yourself to excel. You will write only as you make yourself write."
Not that Strunk and White weren't already amazing teachers--Elements of Style is a brilliant guide. I just feel more relaxed with Zinsser, as if he's some kindly old professor who's taught the same lesson over and over again and refuses to do it in the same drab style. He doesn't just teach you the steps; Zinsser lets you explore further, allowing yourself to question what you're about to write and how to approach it, whatever the genre may be for your article. Not a word is out of place, and he keeps the definitions and directions fresh in our minds with examples from all sorts of sources.
I may not write a lot of nonfiction in my life, but On Writing Well isn't just for people with a desire to write. It's for anyone who NEEDS to write, and that's practically every person in this whole country, let it be businessman or teacher or whatever other profession that someone can have.
There are so many quotes from this book that I can rattle on about, but I'll leave you all with the most recent quote that popped into my mind:
"But finally the purposes that writers serve must be their own. What you write is yours and nobody else's. Take your talent as far as you can and guard it with your life. Only you know how far that is; no editor knows. Writing well means believing in your writing and believing in yourself, taking risks, daring to be different, pushing yourself to excel. You will write only as you make yourself write."
September 7, 2018
Really great practical advice on writing--be clear, be truthful, and don't get cocky. I should re-read this one again and again
March 5, 2024
1 out of 5 stars
What an utter and complete waste of paper — the fact that this book has at least 62 different editions is a testament to the fact that publishing has always released absolute garbage and will continue to.
I’ve read some absolute drivel in my time as a student of language and an enjoyer of literature, but I have never been more relieved to be able to close the back cover of a book in my life.
Zinsser’s ‘On Writing Well’ is a book about how to write well, if you couldn’t tell from the title. Beyond the pretentiousness and egocentrism of this very quest, Zinsser thinks himself more of a professional writer than he is in actuality. Quite frankly, if you’re going to write a book on how to write well maybe follow the advice you preach within those pages.
Initially, when I began to comb through the first chapter of the book I was unsure if the humourless and arrogant persona was a purposeful attempt at teaching the readership about tone and narration. Unfortunately, he’s apparently just like that on a regular Tuesday.
This book may have a few valuable suggestions littered (however infrequently) throughout, but it is immensely difficult to reap any substance in Zinsser’s ‘lessons’ through the foggy sea of his sexism, cis-normativity, and eurocentrism.
My absolute favourite part of the book is in a section (truthfully, I can’t remember which chapter precisely) in which Zinsser touches on the use of pronouns and gender inclusivity and outright insists against using they/them pronouns. While I understand this book was initially published in 1976, gender non-conforming people aren’t a newly discovered species and have been around for a lot longer than that. Similarly, subsequent editions of the book weren’t published in 1976 — some have been published as recently as 2020 and 2021 and could have been amended.
Funnily enough, Zinsser does acknowledge that he had a lack of inclusivity in previous works of his; which is to say he acknowledged that he forgot women exist while he was working on other writings. However, he then proceeds to spend what I generously estimate as 85 per cent of the book using examples exclusively about men. Similarly, the writer — us, the reader — is always, ALWAYS, referred to as he. Never once does Zinsser add she or, God forbid, they. Call it misogyny, call it male superiority, call it a borderline obsession with Woody Allen (Zinsser mentions him every other chapter), call it ego — whatever shoe fits.
While I cannot speak to the racism in this book on a personal level; I can attest that it is there. When describing a piece he wrote on a desert tribe, he exoticizes, others and dehumanises them with phrases pulled straight out of Joseph Conrad’s ‘Heart of Darkness’. Zinsser’s disdain for the “other” is evident in every chapter; from his ignorance of and refusal to use inclusive language, to ignoring the mere existence of women, to using dehumanising and exoticizing other cultures.
Another reviewer on Goodreads reviewed this book by saying “I wanted to stab the author in the ankles” and frankly that is a sentiment I can get behind.
Zinsser writes, very ironically that: “Clutter is the disease of American writing. We are a society strangling in unnecessary words, circular constructions, pompous frills, and meaningless jargon.” This essentially sets the tone for the entirety of Zinsser’s book — he demands the reader do one thing, such as don’t clutter your writing or be economic with your writing and then waffles on over 300 pages about the same thing. For instance, this book features two chapters — one titled Simplicity and the other titled Clutter — on the exact same topic; be economical when writing. How is two chapters about the same topic economical, dear Zinsser? How?!
Ultimately, if your desire is to write commercially and publish the lowest brow of content that appeals to the dullest, braindead, and intellectually lacking denominator of audiences then congratulations; this book is for you. Ironically, my workplace made me read this book as part of a professional development session to be a better content writer. Go figure.
If you’d like to read some actually good books on how to write well, try ‘Bird By Bird’ by Anne Lamott. ‘Story Genius’ by Lisa Cron, ‘Craft in the Real World’ by Matthew Salesses, or even ‘On Writing’ by Stephen King. Don’t read this. The best part about reading this book was getting to boot my copy down the stairs when I was done.
What an utter and complete waste of paper — the fact that this book has at least 62 different editions is a testament to the fact that publishing has always released absolute garbage and will continue to.
I’ve read some absolute drivel in my time as a student of language and an enjoyer of literature, but I have never been more relieved to be able to close the back cover of a book in my life.
Zinsser’s ‘On Writing Well’ is a book about how to write well, if you couldn’t tell from the title. Beyond the pretentiousness and egocentrism of this very quest, Zinsser thinks himself more of a professional writer than he is in actuality. Quite frankly, if you’re going to write a book on how to write well maybe follow the advice you preach within those pages.
Initially, when I began to comb through the first chapter of the book I was unsure if the humourless and arrogant persona was a purposeful attempt at teaching the readership about tone and narration. Unfortunately, he’s apparently just like that on a regular Tuesday.
This book may have a few valuable suggestions littered (however infrequently) throughout, but it is immensely difficult to reap any substance in Zinsser’s ‘lessons’ through the foggy sea of his sexism, cis-normativity, and eurocentrism.
My absolute favourite part of the book is in a section (truthfully, I can’t remember which chapter precisely) in which Zinsser touches on the use of pronouns and gender inclusivity and outright insists against using they/them pronouns. While I understand this book was initially published in 1976, gender non-conforming people aren’t a newly discovered species and have been around for a lot longer than that. Similarly, subsequent editions of the book weren’t published in 1976 — some have been published as recently as 2020 and 2021 and could have been amended.
Funnily enough, Zinsser does acknowledge that he had a lack of inclusivity in previous works of his; which is to say he acknowledged that he forgot women exist while he was working on other writings. However, he then proceeds to spend what I generously estimate as 85 per cent of the book using examples exclusively about men. Similarly, the writer — us, the reader — is always, ALWAYS, referred to as he. Never once does Zinsser add she or, God forbid, they. Call it misogyny, call it male superiority, call it a borderline obsession with Woody Allen (Zinsser mentions him every other chapter), call it ego — whatever shoe fits.
While I cannot speak to the racism in this book on a personal level; I can attest that it is there. When describing a piece he wrote on a desert tribe, he exoticizes, others and dehumanises them with phrases pulled straight out of Joseph Conrad’s ‘Heart of Darkness’. Zinsser’s disdain for the “other” is evident in every chapter; from his ignorance of and refusal to use inclusive language, to ignoring the mere existence of women, to using dehumanising and exoticizing other cultures.
Another reviewer on Goodreads reviewed this book by saying “I wanted to stab the author in the ankles” and frankly that is a sentiment I can get behind.
Zinsser writes, very ironically that: “Clutter is the disease of American writing. We are a society strangling in unnecessary words, circular constructions, pompous frills, and meaningless jargon.” This essentially sets the tone for the entirety of Zinsser’s book — he demands the reader do one thing, such as don’t clutter your writing or be economic with your writing and then waffles on over 300 pages about the same thing. For instance, this book features two chapters — one titled Simplicity and the other titled Clutter — on the exact same topic; be economical when writing. How is two chapters about the same topic economical, dear Zinsser? How?!
Ultimately, if your desire is to write commercially and publish the lowest brow of content that appeals to the dullest, braindead, and intellectually lacking denominator of audiences then congratulations; this book is for you. Ironically, my workplace made me read this book as part of a professional development session to be a better content writer. Go figure.
If you’d like to read some actually good books on how to write well, try ‘Bird By Bird’ by Anne Lamott. ‘Story Genius’ by Lisa Cron, ‘Craft in the Real World’ by Matthew Salesses, or even ‘On Writing’ by Stephen King. Don’t read this. The best part about reading this book was getting to boot my copy down the stairs when I was done.
July 5, 2018
Why Zinsser Still Matters
Second only to The Elements of Style, this is the best book ever written for writers. In many ways, it's better than Strunk and White, which tends to focus on grammar and the actual mechanics of writing as opposed to how a writer should think and approach things. The book focuses on nonfiction, but many (if not most) of the principles apply equally to any style of writing. Even chapters on things like how to do an interview offer valuable insights into what you're looking for when creating good characters or how to recognize and shape a character's voice.
The real victory of this book though comes in rescuing writing from the pomposity of the writing world. It approaches writing from it's long abhorred but more important angle of craftsmanship. Writing is not just an art. Sure, there is art involved, but it's also a craft, a skill that can be learned and honed and developed. Writers who think of what they do as a form of magic would do well to read this book. This error in understanding is even more pervasive in the category of aspiring writers than it is in publishing.
I recall hearing Neil Gaiman talk about how writers will write something, send it out, and wait for a response. If the responses come back negatively, then the writer decides that she is simply too far ahead of her time, or that the publishers simply don't understand what she was doing. "They don't get it," is the common writer's reply. Gaiman contended that the more likely truth is that what you've written simply isn't any good. Maybe it could be good if you fixed it, but it isn't now.
Craft is the bridge that allows you to fix it. It can't really be fixed with art. This is a book about the craft of writing and every writer would do well to read it periodically. I try to read it every couple of years just to refresh myself. I never fail to find new insights or discover new ways to approach the problems of writing.
It seems to me that writers who don't read and study this book along with a few others (The Elements of Style, On Writing, among others) are really just playing at being a writer. They are, as Alan Alda would say, "stuffing the dog".
Second only to The Elements of Style, this is the best book ever written for writers. In many ways, it's better than Strunk and White, which tends to focus on grammar and the actual mechanics of writing as opposed to how a writer should think and approach things. The book focuses on nonfiction, but many (if not most) of the principles apply equally to any style of writing. Even chapters on things like how to do an interview offer valuable insights into what you're looking for when creating good characters or how to recognize and shape a character's voice.
The real victory of this book though comes in rescuing writing from the pomposity of the writing world. It approaches writing from it's long abhorred but more important angle of craftsmanship. Writing is not just an art. Sure, there is art involved, but it's also a craft, a skill that can be learned and honed and developed. Writers who think of what they do as a form of magic would do well to read this book. This error in understanding is even more pervasive in the category of aspiring writers than it is in publishing.
I recall hearing Neil Gaiman talk about how writers will write something, send it out, and wait for a response. If the responses come back negatively, then the writer decides that she is simply too far ahead of her time, or that the publishers simply don't understand what she was doing. "They don't get it," is the common writer's reply. Gaiman contended that the more likely truth is that what you've written simply isn't any good. Maybe it could be good if you fixed it, but it isn't now.
Craft is the bridge that allows you to fix it. It can't really be fixed with art. This is a book about the craft of writing and every writer would do well to read it periodically. I try to read it every couple of years just to refresh myself. I never fail to find new insights or discover new ways to approach the problems of writing.
It seems to me that writers who don't read and study this book along with a few others (The Elements of Style, On Writing, among others) are really just playing at being a writer. They are, as Alan Alda would say, "stuffing the dog".
August 21, 2021
So I've read another book on writing, this one focusing on journalistic non-fiction. It was recommended by a Medium writer, and since it's one I seem to have missed I picked it up. Some parts dragged a bit for me, like the chapter on humor, strangely enough. Part of the problem with that was I live in East Asia, where standards for humor are very different than in the West. You generally need to avoid sarcasm or anything that makes fun of someone else, and it's not just Joan Rivers who gets thrown out with that one, so I think I'll look for advice on humor in another place.
Zinsser reiterates the advice given by almost any successful author, i.e. that you need to aim for expressing things clearly, in simple terms that everybody can easily understand and follow, rather than trying to show off the tongue-twisting words and hip idioms you picked up recently. And very very importantly, to get rid of anything and everything that doesn't move the narrative along. We can all do well to be reminded of this often.
The part that impressed me most was one of the last chapters, on how to tell your own family story. His advice was to skip interviewing everybody in your family and life who lived through the same times with you, and just tell your own story, as you experienced it, focusing on the things emotionally powerful enough to remain with you till the present. Good guidance, I think.
I'm a university professor who also writes magazine articles (in Chinese, but most of the same principles apply) on things I've taught over the years. Much of Zinsser's advice is particularly apropos for this kind of writing, and I've had to constantly keep some form of it in mind over my years, now moving into decades, of writing for the general public.
If you're a "how to write" book junkie like me, I can recommend this one.
Zinsser reiterates the advice given by almost any successful author, i.e. that you need to aim for expressing things clearly, in simple terms that everybody can easily understand and follow, rather than trying to show off the tongue-twisting words and hip idioms you picked up recently. And very very importantly, to get rid of anything and everything that doesn't move the narrative along. We can all do well to be reminded of this often.
The part that impressed me most was one of the last chapters, on how to tell your own family story. His advice was to skip interviewing everybody in your family and life who lived through the same times with you, and just tell your own story, as you experienced it, focusing on the things emotionally powerful enough to remain with you till the present. Good guidance, I think.
I'm a university professor who also writes magazine articles (in Chinese, but most of the same principles apply) on things I've taught over the years. Much of Zinsser's advice is particularly apropos for this kind of writing, and I've had to constantly keep some form of it in mind over my years, now moving into decades, of writing for the general public.
If you're a "how to write" book junkie like me, I can recommend this one.
January 27, 2016
Книга 5 из 52 #однакнигавнеделю Я увидел рецензию на книгу, кажется, у Дениса Довгополого и сразу ее купил в электронной версии для Kindle и в бумажной, чтобы оставить в офисе. Зинсер пишет просто и убедительно. На своем примере и отрывках из текстов других авторов он показывает, как писать просто, без словесного мусора, как подбирать нужные слова и следить за логикой текста. Отдельные главы посвящены текстам о людях, местах и путешествиях, спорте, искусстве, интервью и мемуарах. Не знаю, буду ли я при встрече благодарить Дениса за рекомендацию. Простой пост или короткий текст теперь я пишу вдвое дольше, переставляя местами слова и отслеживая ритм. Кое-кто из моих коллег уже почувствовал зинсеровскую редакторскую руку на себе - письма и отчеты я распечатываю и возвращаю автору с комментариями. Пожалуй, в офис закажу еще одну бумажную книгу в офис, а этот экземпляр пускай постоит у меня на полке.
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