John Steinbeck—A Russian’s Journal—1948
Norman Mailer—The Armies of the Night—1968
Joan Didion—Play it as it Lays—1970
Brian Turner—Here Bullet—2005
Mohsin Hamid—The Reluctant Fundamentalist—2007
Flannery O’ Connor—The Violent Bear it Away—1955
James Baldwin—Notes of a Native Son—1955
Why? Here is what you can learn from these authors and their writing:
If you break his sentences down, record his syntax, find his diction, and watch for his descriptions, you’ll learn a lot from this author. Steinbeck is famous for simple syntax and diction that contrasts his complex descriptions. There are six keys things to his writing:
1. Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.
2. Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.
3. Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.
4. If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.
5. Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.
6. If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.
For more check out the article here:
Also a great insight is The Paris Review. They interview authors, and get the in-depth reasoning of how they view their own writing.
Mailer can teach you many journalistic techniques in this book. He also refers to himself in the third person. He uses very complex syntax and imagery filled with lots and lots of thoughts and beliefs and values.
Here is another interview with The Paris Review for more reading!
Didion can teach you how to write in a masculine syntax, the same syntax and descriptions as Steinbeck. Didion even admits she broke Steinbeck’s sentences down to understand them and learn how to write like him. She writes fiction like nonfiction, and can be intimate as well as distant with her characters. She also often omits commas and has very short chapters within this novel.
11 Writing Tips From Joan Didion, Because She Knows A Thing Or Two About It (from Bustle.com)
1. “Novels are like paintings, specifically watercolors. Every stroke you put down you have to go with. Of course you can rewrite, but the original strokes are still there in the texture of the thing.”
2. “Yes, and the last sentence in a piece is another adventure. It should open the piece up. It should make you go back and start reading from page one.”
3. “I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear.”
4. “The impulse to write things down is a particularly compulsive one, inexplicable to those who do not share it, useful only accidentally, only secondarily, in the way that any compulsion tries to justify itself.”
5. “It’s hostile in that you’re trying to make somebody see something the way you see it, trying to impose your idea, your picture. It’s hostile to try to wrench around someone else’s mind that way. Quite often you want to tell somebody your dream, your nightmare. Well, nobody wants to hear about someone else’s dream, good or bad; nobody wants to walk around with it. The writer is always tricking the reader into listening to the dream.”
6. “Let me tell you one thing about why writers write: had I known the answer to any of these questions I would never have needed to write a novel.”
7. “All I know about grammar is its infinite power. To shift the structure of a sentence alters the meaning of that sentence, as definitely and inflexibly as the position of a camera alters the meaning of the object photographed.”
8. 8. “As a writer, even as a child, long before what I wrote began to be published, I developed a sense that meaning itself was resident in the rhythms of words and sentences and paragraphs… The way I write is who I am, or have become…”
9. “We tell ourselves stories in order to live.”
10. “What’s so hard about that first sentence is that you’re stuck with it. Everything else is going to flow out of that sentence. And by the time you’ve laid down the first two sentences, your options are all gone.”
11. “I think of writing anything at all as a kind of high-wire act. The minute you start putting words on paper you’re eliminating possibilities.”
He is a poet. Turner can teach you how to observe from the outside and describe the details from the inside. He uses strong images and strong metaphors to explain the world.
You can check him out here.
In this book, Hamid can teach you how to place the setting and how to position the gender of the narrator; how to use archetypes to exchange with the story, and how to set the tone of a story.
See more about his writing style and thoughts here.
If you want to write a confusing and complex story that confuses the hell out of your reader, then read this book to learn how twisted your readers can get over what you write. Also, if you want to learn how to write a story set in the 1950s, this is a great book to learn the diction of the time. She uses repetitive images throughout to carry the theme of the book as well.
Or take a look at eight writing tips from Flannery O’Conner.
If you want to learn how to write Cyberpunk, here you go. Gibson is kind of the forefather to this genre even though he refuses the title. The great thing about Cyberpunk is it can teach a writer how to create complex descriptions about a single thing using several figurative language techniques. These quotes are both from his book:
“His eyes were eggs of unstable crystal, vibrating with a frequency whose name was rain and the sound of trains, suddenly sprouting a humming forest of hair-fine glass spines.”
“A year here and he still dreamed of cyberspace, hope fading nightly. All the speed he took, all the turns he’d taken and the corners he cut in Night City, and he’d still see the matrix in his dreams, bright lattices of logic unfolding across that colourless void… The Sprawl was a long, strange way home now over the Pacific, and he was no Console Man, no cyberspace cowboy. Just another hustler, trying to make it through. But the dreams came on in the Japanese night like livewire voodoo, and he’d cry for it, cry in his sleep, and wake alone in the dark, curled in his capsule in some coffin hotel, hands clawed into the bedslab, temper foam bunched between his fingers, trying to reach the console that wasn’t there.”
His book and writing style is very dense. Here is his interview with The Paris Review.
What’s makes his writing so unique is the eloquence of his syntax and his rhetorical attack of any topic. Baldwin really lets readers view the world the way he views the world. His sentences may be short, but they are packed with dynamite syntax. He likes to write a sentence that has heart–making the reader feel. Despite this, his style was criticized for being over-bearing, too moral, and too direct with any moral statements. Most of the topics he writes about are morally complex, so if you want a character who can be complex with morals, learn from the nonfiction of Baldwin.
His history and upbringing also make him an interesting writer. Check out his interview with The Paris Review here.