Ansen Dibell (1942–2006)
Author of How to Write Science Fiction & Fantasy
About the Author
Disambiguation Notice:
Ansen Dibell is the pen name of Nancy Ann Dibble (1942-2006).
Series
Works by Ansen Dibell
Tagged
Common Knowledge
- Canonical name
- Dibell, Ansen
- Legal name
- Dibble, Nancy Ann
- Other names
- Dibblie, Nan
- Birthdate
- 1942-09-08
- Date of death
- 2006-03-07
- Gender
- female
- Nationality
- USA
- Disambiguation notice
- Ansen Dibell is the pen name of Nancy Ann Dibble (1942-2006).
- Associated Place (for map)
- USA
Members
Reviews
When I first dabbled in this book, years ago, I remember placing it in lineage with so many others, an endless parade of books which all say more or less the same thing when it comes to that most workaday aspect of storytelling, the plot. Campbell is invoked, the hero’s journey extolled, and careful and precise subdivisions of what makes a plot are enumerated. If you watched Robin Williams in Dead Poets Society this would be the point to rip up the book in question and proclaim it show more “Excrement!” I wonder sometimes if the reason for so many bad movies and books now isn’t due to the readers of these books growing into their own and writing the way they’ve been taught; badly, I mean, using shortcut and formula instead of craft and artistry. I’m a different, older writer now, and whereas before I missed them, the nuance and wisdom of Dibell’s book and how it stands out from these other books became apparent with this latest reading.
Myself, I think focusing on plot is putting the cart before the horse and something like Dibbel’s book would better serve a book’s second draft, but better writers than I — which is to say writers who have actually finished a book — would disagree. There’s more than enough pantsing/plotting debate going around, though. I’m of the mind that we don’t go to story to find out what what happens, but rather seek to find out what happens in order to have an excuse to immerse ourselves in story.
At one point Dibell says
At another point she says that “plot is a verb.” I think this is very much true and Dibell’s use of this axiom to spine the book is what makes it worth reading. show less
Myself, I think focusing on plot is putting the cart before the horse and something like Dibbel’s book would better serve a book’s second draft, but better writers than I — which is to say writers who have actually finished a book — would disagree. There’s more than enough pantsing/plotting debate going around, though. I’m of the mind that we don’t go to story to find out what what happens, but rather seek to find out what happens in order to have an excuse to immerse ourselves in story.
At one point Dibell says
As I've said before, stories—especially live, convincing stories—will change under your hands. That's the reason I've never been persuaded of the usefulness of outlines. By other writers' experience and my own, I judge that you generally won't know how a story's going to go until you get close to the place where something is just about to happen. It will take its own shape and tell you how it wants to go, if you listen and watch attentively for the ways it's telling you.
At another point she says that “plot is a verb.” I think this is very much true and Dibell’s use of this axiom to spine the book is what makes it worth reading. show less
An editor once told me that if you're going to take advice on writing, take it either from name-bestselling writers or gatekeepers such as acquiring editors or agents--not necessarily anyone who writes for Writer's Digest or has taught a writing class. Dibell doesn't quality as a "name" writer, but I do like the Elements of Fiction Writing series Writer's Digest puts out--and plotting is one of my weaknesses. This is more about fixing plots then generating them. Dibell obviously agrees with show more Stephen King that plots are "found things" and that can be messy as your muse takes you in directions you didn't plan. Dibell writes:
You can make outlines and try to lock out that change. But you know, and I know, that writing is as much a process of discovery as it is one of invention, and the more serious you are about your writing and the more complex the story you're trying to tell, the more likely it is to start creating itself in unexpected ways.
I'd say that's not only true in my experience, but I that often the parts that are most alive, the most fun, are what comes to shape spontaneously--but at times it does mean you can write yourself into a corner, and I appreciate Dibell's suggestions about how to control the process a bit and avoid some blind alleys. show less
You can make outlines and try to lock out that change. But you know, and I know, that writing is as much a process of discovery as it is one of invention, and the more serious you are about your writing and the more complex the story you're trying to tell, the more likely it is to start creating itself in unexpected ways.
I'd say that's not only true in my experience, but I that often the parts that are most alive, the most fun, are what comes to shape spontaneously--but at times it does mean you can write yourself into a corner, and I appreciate Dibell's suggestions about how to control the process a bit and avoid some blind alleys. show less
I've had this on my to-read list since high school. Clearly my dedication to the craft is as hard as plasteel.
It's a quick read, not only because it's short but also because of Card's breezy and (somewhat) informal style. As promised in the introduction, he sticks mostly to genre-specific elements of writing, such as world building, creating rules for science/magic (or both...), and so forth. He skips or glosses over aspects that apply to all writing, and even fiction writing specifically.
As show more you might imagine, Card refers to a lot of works, both by himself and others, to illustrate the points he is making. The examples were generally well chosen, but it had the dubious effect of making me aware of more things I want to read.
For me, the best part of the book was the last chapter, which discusses the life and business of writing. Card slips a little in his intent here by giving more general advice, but that's not necessarily a bad thing, since it's good advice. In particular, he gives voice to the conflicting viewpoints that an author must take of his or her own work:
He goes on to explain how to handle these antipodal viewpoints without going mad ("but that, too," he says, "can be an asset to the writer").
It's not a life-changing book, but there's some good tips along with a fair amount of humor and "huh" moments. If you want to feel like you got to pick the brain of a premier science fiction author about his craft, then sit down and read this.
(For the record, I mean "pick the brain" in a metaphorical sense, not a literal, scientific one.) show less
It's a quick read, not only because it's short but also because of Card's breezy and (somewhat) informal style. As promised in the introduction, he sticks mostly to genre-specific elements of writing, such as world building, creating rules for science/magic (or both...), and so forth. He skips or glosses over aspects that apply to all writing, and even fiction writing specifically.
As show more you might imagine, Card refers to a lot of works, both by himself and others, to illustrate the points he is making. The examples were generally well chosen, but it had the dubious effect of making me aware of more things I want to read.
For me, the best part of the book was the last chapter, which discusses the life and business of writing. Card slips a little in his intent here by giving more general advice, but that's not necessarily a bad thing, since it's good advice. In particular, he gives voice to the conflicting viewpoints that an author must take of his or her own work:
Writers have to simultaneously believe the following two things:
- The story I am now working on is the greatest work of genius ever written in English.
- The story I am working on is worthless drivel.
He goes on to explain how to handle these antipodal viewpoints without going mad ("but that, too," he says, "can be an asset to the writer").
It's not a life-changing book, but there's some good tips along with a fair amount of humor and "huh" moments. If you want to feel like you got to pick the brain of a premier science fiction author about his craft, then sit down and read this.
(For the record, I mean "pick the brain" in a metaphorical sense, not a literal, scientific one.) show less
The nice thing about Orson Scott Card, the same thing I liked about "Characters & Viewpoint", is that he uses good examples. Real life examples. Examples you can utilize in your own pre-writing. It might not work for you, might not fit your style, but it worked for someone and it might work for you. That's why I hate writers who say "Well, everyone's different, I can't give you any advice, it might not fit you, everyone has their own way". Yeah, I know that. Tell me your way, I'll see if it show more works for me.
The problem is the book is outdated. It talks about magazines and sources that are either dead or no longer relevant. It has no Internet resources. The ways to submit works has changed, culturally. He advises mass submissions and unagented queries. If I was writing a writing help book, I wouldn't include anything that might become obsolete in the future - it just would make me look stupid.
I'm not 100% sure this book helped me a great deal, but I think it was more important I was able to look into a professional writer's head, and see how it works. Then I can at least try and incorporate it subconsciously. Creativity doesn't just happen, it must be made to happen. show less
The problem is the book is outdated. It talks about magazines and sources that are either dead or no longer relevant. It has no Internet resources. The ways to submit works has changed, culturally. He advises mass submissions and unagented queries. If I was writing a writing help book, I wouldn't include anything that might become obsolete in the future - it just would make me look stupid.
I'm not 100% sure this book helped me a great deal, but I think it was more important I was able to look into a professional writer's head, and see how it works. Then I can at least try and incorporate it subconsciously. Creativity doesn't just happen, it must be made to happen. show less
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Statistics
- Works
- 13
- Members
- 2,977
- Popularity
- #8,569
- Rating
- 3.7
- Reviews
- 47
- ISBNs
- 26
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- 3