{"product_id":"good-prose-isbn-9780812982152","title":"Good Prose","description":"\u003cb\u003eNAMED ONE OF THE BEST BOOKS OF THE YEAR BY \u003ci\u003eKIRKUS REVIEWS\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003eGood Prose\u003c\/i\u003e is an inspiring book about writing—about the creation of good prose—and the record of a warm and productive literary friendship. The story begins in 1973, in the offices of \u003ci\u003eThe Atlantic Monthly,\u003c\/i\u003e in Boston, where a young freelance writer named Tracy Kidder came looking for an assignment. Richard Todd was the editor who encouraged him. From that article grew a lifelong association. Before long, Kidder’s \u003ci\u003eThe Soul of a New Machine,\u003c\/i\u003e the first book the two worked on together, had won the Pulitzer Prize. It was a heady moment, but for Kidder and Todd it was only the beginning of an education in the art of nonfiction.\u003cbr\u003e  \u003cbr\u003e \u003ci\u003eGood Prose \u003c\/i\u003eexplores three major nonfiction forms: narratives, essays, and memoirs. Kidder and Todd draw candidly, sometimes comically, on their own experience—their mistakes as well as accomplishments—to demonstrate the pragmatic ways in which creative problems get solved. They also turn to the works of a wide range of writers, novelists as well as nonfiction writers, for models and instruction. They talk about narrative strategies (and about how to find a story, sometimes in surprising places), about the ethical challenges of nonfiction, and about the realities of making a living as a writer. They offer some tart and emphatic opinions on the current state of language. And they take a clear stand against playing loose with the facts. Their advice is always grounded in the practical world of writing and publishing.\u003cbr\u003e  \u003cbr\u003e \u003ci\u003eGood Prose\u003c\/i\u003e—like Strunk and White’s \u003ci\u003eThe Elements of Style—\u003c\/i\u003eis a succinct, authoritative, and entertaining arbiter of standards in contemporary writing, offering guidance for the professional writer and the beginner alike. This wise and useful book is the perfect companion for anyone who loves to read good books and longs to write one.\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePraise for \u003ci\u003eGood Prose\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e“Smart, lucid, and entertaining.”\u003cb\u003e—\u003ci\u003eThe Boston Globe\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003ci\u003e \u003c\/i\u003e\u003cbr\u003e “You are in such good company—congenial, ironic, a bit old-school—that you’re happy to follow [Kidder and Todd] where they lead you.”\u003cb\u003e—\u003ci\u003eThe Wall Street Journal\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e “[A] well-structured, to-the-point, genuinely useful, and fun-to-read guide to writing narrative nonfiction, essays, and memoir . . . Crisp, informative, and mind-expanding.”\u003cb\u003e—\u003ci\u003eBooklist\u003c\/i\u003e \u003ci\u003e \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003cb\u003e \u003c\/b\u003e\u003cbr\u003e “A gem . . . The finer points of creative nonfiction are molded into an inspiring read that will affect the would-be writer as much as Anne Lamott’s\u003ci\u003e Bird by Bird \u003c\/i\u003eor Stephen King’s \u003ci\u003eOn Writing. \u003c\/i\u003e. . . This is a must read for nonfiction writers.”\u003cb\u003e—\u003ci\u003eLibrary Journal\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003ci\u003e \u003c\/i\u003e\u003cbr\u003e “As approachable and applicable as any writing manual available.”\u003cb\u003e—Associated Press\u003c\/b\u003e“Smart, lucid, and entertaining.”\u003cb\u003e—\u003ci\u003eThe Boston Globe\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003ci\u003e \u003c\/i\u003e\u003cbr\u003e “You are in such good company—congenial, ironic, a bit old-school—that you’re happy to follow [Kidder and Todd] where they lead you.”\u003cb\u003e—\u003ci\u003eThe Wall Street Journal\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e “[A] well-structured, to-the-point, genuinely useful, and fun-to-read guide to writing narrative nonfiction, essays, and memoir . . . Crisp, informative, and mind-expanding.”\u003cb\u003e—\u003ci\u003eBooklist\u003c\/i\u003e \u003ci\u003e \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003cb\u003e \u003c\/b\u003e\u003cbr\u003e “A gem . . . The finer points of creative nonfiction are molded into an inspiring read that will affect the would-be writer as much as Anne Lamott’s\u003ci\u003e Bird by Bird \u003c\/i\u003eor Stephen King’s \u003ci\u003eOn Writing. \u003c\/i\u003e. . . This is a must read for nonfiction writers.”\u003cb\u003e—\u003ci\u003eLibrary Journal\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003ci\u003e \u003c\/i\u003e\u003cbr\u003e “As approachable and applicable as any writing manual available.”\u003cb\u003e—Associated Press\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eGood Prose: The Art of Nonfiction\u003c\/i\u003e takes us into the back room behind the shop, where strong, effective, even beautiful sentences are crafted. Tracy Kidder and his longtime editor, Richard Todd, offer lots of useful advice, and, still more, they offer insight into the painstaking collaboration, thoughtfulness, and hard work that create the masterful illusion of effortless clarity.”\u003cb\u003e—Stephen Greenblatt, author of \u003ci\u003eThe Swerve: How the World Became Modern\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“\u003ci\u003eGood Prose\u003c\/i\u003e offers consummate guidance from one of our finest writers and his longtime editor. Explaining that ‘the techniques of fiction never belonged exclusively to fiction,’ Kidder and Todd make a persuasive case that ‘no techniques of storytelling are prohibited to the nonfiction writer, only the attempt to pass off invention as facts.’ Writers of all stripes, from fledgling journalists to essayists of the highest rank, stand to benefit from this engrossing manual.”\u003cb\u003e—Jon Krakauer, author of \u003ci\u003eInto the Wild\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e“What a pleasure to read a book about good prose written in such good prose! It will make many of its readers better writers (though none as good as Tracy Kidder, who sets an impossible standard), and it will make all of them wish they could hire Richard Todd to work his editorial magic on their words.”\u003cb\u003e—Anne Fadiman, author of \u003ci\u003eThe Spirit Catches You and You Fall Down\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e“Few editors have the good fortune to work with writers as talented as Tracy Kidder, and even fewer writers are blessed with editors who have the skills, the standards, and the dedication of Richard Todd. I don’t think there’s a writer on the planet who could read this product of their four-decade collaboration and not walk away with much that is useful, and even more that is profound.”\u003cb\u003e—Daniel Okrent, author of \u003ci\u003eLast Call\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e“Books about how to be a better writer crowd the shelves, but I’ve read nothing nearly as wise, useful, and page-for-page fun as \u003ci\u003eGood Prose,\u003c\/i\u003e itself a work of art. This concise, delightfully stylish book offers a master class on nonfiction, packed with keen, hard-won insights and delivered with warmth, humor, and a total lack of pedantry. Reading it felt like enjoying a fireside dinner with two generous veterans of the craft. Finishing it made me want to get straight back to my desk.”\u003cb\u003e—Darcy Frey, author of \u003ci\u003eThe Last Shot\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003eTracy Kidder\u003c\/b\u003e graduated from Harvard and studied at the University of Iowa. He has won the Pulitzer Prize, the National Book Award, the Robert F. Kennedy Book Award, and many other literary prizes. The author of \u003ci\u003eStrength in What Remains, My Detachment, Mountains Beyond Mountains, Home Town, Old Friends, Among Schoolchildren, House, \u003c\/i\u003eand\u003ci\u003e The Soul of a New Machine, \u003c\/i\u003eTracy\u003ci\u003e \u003c\/i\u003eKidder lives in Massachusetts.\u003cbr\u003e  \u003cbr\u003e \u003cb\u003eRichard Todd\u003c\/b\u003e was educated at Amherst and Stanford. He has spent many years as a magazine and book editor, and has written articles on a wide range of cultural themes for \u003ci\u003eHarper’s, The Atlantic Monthly, The New York Times Magazine, Condé Nast Traveler, \u003c\/i\u003eand the\u003ci\u003e Columbia Journalism Review, \u003c\/i\u003eamong others. He is the author of a previous book, \u003ci\u003eThe Thing Itself\u003c\/i\u003e, and he teaches in the MFA program at Goucher College.\u003cb\u003eINTRODUCTION\u003c\/b\u003e\u003cbr\u003eWe met in Boston, at the offices of The Atlantic Monthly. Neither of us can remember the date, but it must have been around the\u003cbr\u003etime our fi rst joint effort as writer and editor was published, in July 1973.\u003cbr\u003e\u003cbr\u003eBy then The Atlantic was 117 years old. You sensed lineage when you walked up to its headquarters, an old brownstone on\u003cbr\u003ethe corner of Arlington and Marlborough streets, facing the Public Garden. It was prime real estate, but it was also in Boston,\u003cbr\u003enot New York or Los Angeles. This was a magazine headquarters that seemed to say it was untouched by commerce, like\u003cbr\u003ethe wealthy Boston matron who, in an old joke, says, “We don’t buy our hats, we have our hats.” A boiler room clamor faintly\u003cbr\u003etolled in the offi ces upstairs, which had achieved High Shabbiness: faded mementos on the walls, layers of discolored paint on\u003cbr\u003ethe ornate moldings, threadbare carpeting. The building once, in the era of Silas Lapham, had been a single-family mansion,\u003cbr\u003eand much of the fl oor plan had survived—many small rooms in back, in what must have been the servants’ quarters, and in front,\u003cbr\u003eoffi ces with fi replaces that editors used now and then when the Boston winter outperformed the heating plant.\u003cbr\u003e\u003cbr\u003eIt was an era that in memory seems closer to The Atlantic’s distant past than to our present, an era of typewriters and\u003cbr\u003esecretaries—mostly young, wry women with fi rst-class educations trying to find their way into publishing careers. There\u003cbr\u003ewere a few older women, two of them editors; one wore a hat at her desk. The women of both ranks kept regular hours. The men\u003cbr\u003earrived midmorning and not long afterward went to lunch. “I’m going to grab a sandwich,” the editor-in-chief, Bob Manning,\u003cbr\u003ewould tell his assistant, as he headed for the all-male sanctuary and full luncheon menu of the Tavern Club. The more junior\u003cbr\u003emen stepped out soon afterward, and often ended up at the Ritz Bar, a block away on Arlington Street. An editor with a writer\u003cbr\u003ein tow could charge his lunch to the magazine. Eggs Benedict, a couple of small carafes of white wine, and back to work, rarely\u003cbr\u003elater than two thirty. Many afternoons were cheery.\u003cbr\u003e\u003cbr\u003eThe Atlantic was more or less broke by then, just barely paying its expenses and about to become an exercise in cultural defi cit\u003cbr\u003espending for its owner. Editors didn’t earn much, less than twenty thousand a year (which bought more then than now, of\u003cbr\u003ecourse, in part because there weren’t as many things to buy). A young writer was paid by the piece, two or three thousand dollars\u003cbr\u003eat most for a long article that might take four months to complete.\u003cbr\u003e\u003cbr\u003eThe Atlantic’s archives held a trove of articles and stories and poems by just about every major American writer of the late\u003cbr\u003enineteenth and early twentieth centuries. The magazine was still one of America’s preeminent cultural arbiters, but the role\u003cbr\u003ewas increasingly hard to play. In politics, The Atlantic had long stood for liberal thought. Now its editors stared out their windows\u003cbr\u003eonto a world in which liberalism was under attack from both sides, from the Weathermen as well as the Nixon White\u003cbr\u003eHouse. Every month the staff argued over the magazine’s cover and usually ended up with something colorful and overstated, in\u003cbr\u003ethe vain hope that a touch of sensation would improve newsstand sales. But the covers threatened the magazine’s cultural\u003cbr\u003elegitimacy, the real attraction for its true audience and for many who worked there.\u003cbr\u003e\u003cbr\u003eNearly forty years is long enough to make the “us” of back then feel like “they.” We were young—Kidder twenty-seven,\u003cbr\u003eTodd thirty-two—and each of us was trying to stake out a literary future. To Todd, editing at The Atlantic granted prestige,\u003cbr\u003elike owning a fine antique. If he’d been in charge, the magazine would have reverted to the monochrome covers of its heyday.\u003cbr\u003eAs for Kidder, the idea of publishing articles at The Atlantic was more than exciting enough, since he would have been grateful\u003cbr\u003eto be published anywhere. Phone calls were expensive back then and allowances for research miserly. For a young writer\u003cbr\u003eshort of funds, it was convenient to spend time in the building, camping out as it were in one of its many vacant back offi ces and\u003cbr\u003eusing the magazine’s phones for long-distance calls to sources for articles. Kidder spent many days and quite a few nights in the\u003cbr\u003ebuilding, and many hours working with Todd, whose office had a fi replace and a view. After-hours provisions could be found in\u003cbr\u003ethe bar in Manning’s offi ce down the hall.\u003cbr\u003e\u003cbr\u003eWe called each other by our surnames, as our sergeants had in army basic training. To Kidder, a childhood for Todd seemed\u003cbr\u003eimprobable—he must have been born old, and probably born ironic to boot. To Todd, and practically everyone else, Kidder\u003cbr\u003ewas young beyond his years. He was plainly ambitious, but his self-esteem ranged from abject to grandiose. Once, at a Christmas\u003cbr\u003eparty that went on too long, he confronted Bob Manning and announced, “I’m the best damn journalist in the Western\u003cbr\u003eHemisphere.” Hung over and contrite the next morning, he was comforted by Todd, who said, “At least you didn’t claim the\u003cbr\u003ewhole world.” Each imagined himself forbearing of the other.\u003cbr\u003e\u003cbr\u003eKidder wrote and rewrote many versions of his first Atlantic article, about a mass murder case in California. He had imagined\u003cbr\u003ethe piece as a sequel to In Cold Blood. At some point Bob Manning sent the manuscript back to Todd, having scrawled on it,\u003cbr\u003e“Let’s face it, this fellow can’t write.” Todd kept this comment to himself and merely told Kidder that the piece still needed fixing,\u003cbr\u003eand the rewriting continued.\u003cbr\u003e\u003cbr\u003eA long association had begun. Todd knew only that he had a writer of boundless energy. For Kidder, to be allowed not just to\u003cbr\u003erewrite but to rewrite ad infi nitum was a privilege, preferable in every way to rejection slips. And for Todd, it was possible to\u003cbr\u003eimagine that a writer willing to rewrite might turn out to be useful. Todd once remarked to a group of students, never expecting\u003cbr\u003ehe would be quoted, “Kidder’s great strength is that he’s not afraid of writing badly.” The truth was that Kidder was afraid of\u003cbr\u003ewriting badly in public, but not in front of Todd. Kidder would give him pieces of unfi nished drafts. He would even read Todd\u003cbr\u003epassages of unfi nished drafts, uninvited, over the phone. Very soon Todd understood when he was being asked for reassurance,\u003cbr\u003enot criticism, and would say, “It’s fi ne. Keep going.” When a draft was done, Todd would point out “some problems,” and another\u003cbr\u003erewrite would begin.\u003cbr\u003e\u003cbr\u003eThat ritual established itself early on and persisted through many articles and Kidder’s fi rst two books. A time came—\u003cbr\u003emidway through the writing of Among Schoolchildren, about a fifth-grade teacher—when Kidder began revising pages before\u003cbr\u003eTodd had a chance to read them. This was a means of delaying criticism forever. No doubt that was Kidder’s goal, and he could\u003cbr\u003eremain happily unaware of it as long as he kept on rewriting. Things went on that way for a while, until Todd said, in the\u003cbr\u003emost serious tone he could muster, “Kidder, if you rewrite this book again before I have time to read it, I’m not working on it\u003cbr\u003eanymore.” Kidder restrained himself, and the former routine was reestablished.\u003cbr\u003e\u003cbr\u003eEventually The Atlantic changed hands. Its book publishing arm was sold off, its headquarters relocated, its old building renovated\u003cbr\u003einto a corporate offi ce. We lingered for a time, working under a new head editor, William Whitworth, who was to both\u003cbr\u003eof us exemplary. He once told Kidder, “Every writer needs another set of eyes.” When Todd moved on to do his own writing\u003cbr\u003eand to edit books, Kidder followed him.\u003cbr\u003e\u003cbr\u003eThis book is in part an account of lessons learned, learned by a writer and an editor working together over nearly forty years.\u003cbr\u003eGood Prose is addressed to readers and writers, to people who care about writing, about how it gets done, about how to do it\u003cbr\u003ebetter. That you can learn to write better is one of our fundamental assumptions. No sensible person would deny the mystery\u003cbr\u003eof talent, or for that matter the mystery of inspiration. But if it is vain to deny these mysteries, it is useless to depend on them. No\u003cbr\u003eother art form is so infi nitely mutable. Writing is revision. All prose responds to work.  \u003cbr\u003e\u003cbr\u003eWe should acknowledge some other predispositions. We’re\u003cbr\u003esticklers on fact. Nonfiction means much more than accuracy, but it begins with not making things up. If it happened on Tuesday,\u003cbr\u003ethat’s when it happened, even if Thursday would make for a tidier story. (And in our experience, at least, Tuesday usually\u003cbr\u003eturns out to make for a more interesting story.) This is not to confuse facts with the truth, a subject we will deal with.\u003cbr\u003e\u003cbr\u003eWe also believe in the power of story and character. We think that the techniques of fi ction never belonged exclusively to fi ction,\u003cbr\u003eand that no techniques of storytelling are prohibited to the nonfiction writer, only the attempt to pass off inventions as facts.\u003cbr\u003eWe think that the obscure person or setting can be a legitimate subject for the serious nonfi ction writer. And we think that every\u003cbr\u003epiece of writing—whether story or argument or rumination, book or essay or letter home—requires the freshness and precision\u003cbr\u003ethat convey a distinct human presence.\u003cbr\u003e\u003cbr\u003eDuring the past three decades American culture has become louder, faster, more disjointed. For immediacy of effect, writers\u003cbr\u003ecan’t compete with popular music or action movies, cable network news or the multiplying forms of instant messaging. We\u003cbr\u003ethink that writers shouldn’t try, that there is no need to try. Writing remains the best route we know toward clarity of\u003cbr\u003ethought and feeling. Good Prose is mainly a practical book, the product of years of experiment in three types of prose: writing about the world,\u003cbr\u003ewriting about ideas, and writing about the self. To put this another way, this book is a product of our attempts to write and to\u003cbr\u003eedit narratives, essays, and memoirs. We presume to offer advice, even the occasional rule, remembering that our pronouncements\u003cbr\u003eare things we didn’t always know but learned by attempting to solve problems in prose. For us, these things\u003cbr\u003elearned are in themselves the story of a collaboration and a friendship.Winner of the Pulitzer Prize; Stories and advice from a lifetime of writing and editing","brand":"Random House Trade Paperbacks","offers":[{"title":"Default Title","offer_id":46304958546149,"sku":"NP9780812982152","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780812982152.jpg?v=1767728373","url":"https:\/\/k12savings.com\/products\/good-prose-isbn-9780812982152","provider":"K12savings","version":"1.0","type":"link"}