Writers on Writing

Why fiction can be more powerful than nonfiction when we need to understand social issues

Facts matter. We need historians, journalists, researchers, documentaries, investigative reporting, firsthand testimony, and all the other forms of nonfiction that help us understand what actually happened in the world. Facts are essential. Without them, we cannot distinguish history from mythology, evidence from propaganda, or reality from the stories people tell themselves. But sometimes, facts aren’t enough.

Graphic: Why fiction can be more powerful than nonfiction when we need to understand social issues
Facts tell us what happened. Fiction helps us understand what it felt like.

Sometimes we can know a fact without really understanding it. We can know that human beings were enslaved. We can know that people were displaced from their homes. We can know that women living under oppressive governments lose rights and opportunities. We can know that war changes ordinary people’s lives. We can know that trauma can be passed from one generation to another. And yet we can still struggle to understand what any of those things actually mean to the people experiencing them. That is where fiction can do something extraordinary.

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Writers on Writing

Everyone says you’re writing your novel wrong: They’re not all right.

It is a truth universally acknowledged that a writer in possession of a novel manuscript in progress must be in want of writing advice. If you’ve ever gone looking for advice about how to write a novel, you’ve probably discovered one of the great truths of writing: for every person who confidently tells you there is a right way to do something, there is another person who will confidently tell you they’re completely wrong—especially if you ask the question of social media.

Everyone has an opinion about the “right” way to write a novel. But what works for one writer, genre, audience, or school of thought may not work for another. The trick is figuring out what you believe a story is supposed to do—and finding the advice that actually serves your goals. There’s no single right way to write a novel. There’s only the way that works for the story you’re trying to tell.

Plotters will tell you to outline. Pantsers will tell you that outlining kills the magic. One writing teacher will tell you that you should never use adverbs, while another will remind you that adverbs are perfectly legitimate words. Someone will insist that you must start your novel with action, while someone else will tell you that the reader needs time to settle into the world and meet the characters. And then there’s the Oxford comma.

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Ask the Author

Ask the author: Should authors review other authors’ books?

Dear Mandy,

Should authors review other authors’ books?

Short answer: Yes—but do it with intention, professionalism, and an awareness of the ecosystem you’re participating in.

Longer answer: I believe authors reviewing other authors’ work can be a genuinely good thing. We’re part of a shared creative community, and thoughtful engagement helps readers discover books while also raising the level of conversation around storytelling. That said, how you review matters just as much as whether you review.

An infographic that spells out the key points made by the article.
Thoughtful reviews don’t tear books down—they build better conversations.

On my own blog, I keep my literary criticism constructive. I talk about what worked for me and what didn’t, but I frame those “didn’t” moments as areas where something could have been stronger—not as the author doing something wrong. That distinction matters. It keeps the focus on craft rather than tearing down the person behind the work. If a book ultimately wasn’t for me, I’ll still highlight the kinds of readers who would connect with it, because every book has an audience—even when I’m not it.

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Ask the Author

Ask the Author: Can genre fiction be literary?

Dear Mandy,

Can genre fiction be literary?

Genre fiction isn’t trying to tiptoe past the literary gatekeepers—it’s already storming the pedestal. Depth, fun, dragons, and dystopias: all at once. Who says you can’t have it all?”

Answer: IDK, Patty, do you think works by Edgar Allan Poe and Mary Shelley are literary? If so, do you think they aren’t also genre fiction? What about Wuthering Heights (gothic/mystery), Brave New World (dystopian), or The Lord of the Rings (epic fantasy)?

Exactly.

This question comes up a lot, and it’s usually asked with the unspoken assumption that genre fiction sits a rung or two below “real” literature. As if, once you introduce a murder, a monster, a dragon, or a dystopian government, depth immediately evacuates the premises. So, let’s slow down and actually unpack what we’re talking about.

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Bibliography

Annotated Bib: “Modernist Women’s Memoir, War and Recovering the Ordinary: H.D.’S “The Gift””

Photograph of H.D., c. 1921. Beinecke Rare Boo...
Photograph of H.D., c. 1921. Beinecke Rare Book and Manuscript Library, Yale University (Photo credit: Wikipedia)

This week’s Annotated Bibliography entry analyzes an article by Lorraine Sim who explores a World War II memoir written by H.D. You may view the full text here.

Annotated Bib Entry

Sim, Lorraine. “Modernist Women’s Memoir, War and Recovering the Ordinary: H.D.’S The Gift.” Women’s Studies 38.1 (2009): 63-83. SocINDEX with Full Text. Web. 20 Feb. 2015.

In this article, Lorraine Sim discusses the theme of “the ordinary in H.D.’s wartime memoir The Gift” (63). Sim also discusses modernist theories that uphold war as a part of ordinary life. H.D. wrote this memoir during and soon after World War II. She chose to stay in London during the war despite the dangers from the frequent air-raids that occurred during that period. Throughout the text, H.D. discusses how grounding herself in the everyday helped to keep her attached to reality in the midst of the bombings even as the air raids themselves became a part of her “normal,” everyday life. Continue reading “Annotated Bib: “Modernist Women’s Memoir, War and Recovering the Ordinary: H.D.’S “The Gift””” →

Education, Reading

School is making me feel stupid

The life writing course I signed up for this semester isn’t what I expected. I was looking for a “book club” class where I could sit around and discuss books with my classmates. I didn’t realize the course would focus so heavily on pedagogy (a word I can’t even pronounce) or that my classmates – even the undergraduates – would be using so many big words that no one ever used in my graduate writing program. This course is really pointing out the gaps in my education.

You see, I got my undergraduate degree in business, not English. I took several writing courses as an undergrad, but I did not study literary criticism to the degree that so many of my classmates seem to have. OK, I admit it. I didn’t study literary criticism at all. And there are so many books – the “canon” – they all seem to have read that I haven’t.


Embed from Getty Images

I don’t know about you, but when I imagine a potential audience for my novels, this guy is not who I have in mind.  Continue reading “School is making me feel stupid” →