Publishers Weekly
★ 04/06/2020
Rubin, a playwright and TV scriptwriter, aims with this manual to give writers “enough direction to avoid getting lost, but not so much that it strangles your creativity,” and succeeds in creating an invaluable resource. He offers an array of techniques (escalate risk, provoke dilemma, confront evil, etc.) for effective storytelling, first demonstrating how a master used a technique to great effect, and then explaining how neophytes may do so as well. His choices of “masters” may surprise. Rubin includes the usual suspects—Shakespeare (who “drops the hammer” when he has Hamlet learn the truth behind his father’s death) and Shirley Jackson (who “confronts evil” with her depiction of a seemingly tranquil small town’s dark side in “The Lottery”), among others—but he also uses TV shows, movies, and even a video game, Red Dead Redemption, the runaway success of which he attributes to its creators obeying the principle “make your hero active and decisive.” This is a no-brainer for both pro and would-be novelists. Lisa DiMona, Writer’s House. (July)
From the Publisher
"This is the straight dope—all the tools you need to craft a hell of a great story." —Paul Giamatti, actor "Rubin, a playwright and TV scriptwriter, aims with this manual to give writers “enough direction to avoid getting lost, but not so much that it strangles your creativity,” and succeeds in creating an invaluable resource... This is a no-brainer for both pro and would-be novelists." —Publishers Weekly, Starred Review "Seasoned multimedia writer Rubin (NBC, the WB) injects the traditional writing manual with an overdue fix of dash and utility... This new bible of lessons and practices for creators across media will likely appeal to readers curious about behind-the-scenes realities of those who bring to life today’s most popular and intelligent entertainment." —Library Journal "Perfect for any writer looking to ensure their stories operate and resonate at the top of their potential." —Booklist
Library Journal
★ 04/01/2020
Seasoned multimedia writer Rubin (NBC, the WB) injects the traditional writing manual with an overdue fix of dash and utility. While classics such as Strunk and White's Elements of Style and Stephen King's On Writing focus on short- and long-form literature, Rubin ranges through television, movies, video games, as well as novels and short stories. Above all, the author reminds writers that the tales one tells are personal. Storytelling is a revealing art. Throughout the detailed analyses of 27 master works (Hamlet and South Park, to Beloved and Breaking Bad), readers observe clear resonance between authors' defining experiences, passions, personality, and subjects and themes explored. For example, despite being a nightmarish icon of surrealist/indie filmmaking, David Lynch's Eraserhead doesn't stray from emotional truths and traumas common to starting a family, having sex, childbirth, and death. Nor does Alison Bechdel's graphic memoir Fun Home. Storytellers must cultivate inner meaning unfindable in a fragmenting world. Mirroring the coherence of a three-part structure, this manual covers essential principles of plot, character, dialog, setting, and theme. VERDICT This new bible of lessons and practices for creators across media will likely appeal to readers curious about behind-the-scenes realities of those who bring to life today's most popular and intelligent entertainment.—William Grabowski, McMechen, WV
Kirkus Reviews
2020-04-20
A self-help book for those who yearn to be story writers.
Rubin has considerable experience in this arena—a graduate of the Yale School of Drama, he is the founder of the writing studio Story 27 and has written for TV and theater—but little is novel here. He writes in conventional self-help format (chapters with identical subheadings, bullet points, continual encouragement) and employs informal diction throughout, including the final sentence: “You got this.” In one of the major sections, “How the Master Did It,” the author summarizes, sometimes quite extensively, a salmagundi of works including computer games, songs, short stories, novels, plays, films, TV scripts, and comic books. Among the many iconic authors Rubin cites are Shakespeare, Dostoyevsky, James Baldwin, Arthur Miller, and Toni Morrison as well as more current artists such as Quentin Tarantino and Tina Fey. Rubin’s point, well taken, is that great stories are similar in foundational ways, and he devotes most of the text to showing novices how to become adepts, if not maestros. The 27 chapters, introduced by quotes from the likes of Aristotle, Voltaire, Buddha, and others, are arranged into large themes—plot, character, setting, dialogue, etc.—and each has an urgent and/or encouraging title: “Drop the Hammer,” “Escalate Risk,” “Hunt Big Game,” “Peel the Onion,” “Confront Evil.” The prose is readable yet sprinkled with cliché (“getting into the appropriate mindset”) and platitude (“the more you do something, the better you get at it”). Rubin does display a wide range of reading, but he does not delve into language, mechanics, usage, ways to write a character’s thoughts, and so on. Maybe another volume is on the way? The author remains positive and encouraging throughout, but as most aspiring writers know, success is highly elusive.
Enthusiastic and chockablock with varied examples but tightly bound by the ropes of convention.
