REVIEW: Second Sight by Cheryl Klein
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Title: | Second Sight |
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| Author: | Cheryl Klein | |
| Pub Date: | March 11th, 2011 | |
| Chris’ Rating (5 possible): |  |
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| An Attempt at Categorization | If You Like… / You Might Like… | |
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Several years ago, The Professor (my fiancée) introduced me to children’s book editor Cheryl Klein’s blog, where I discovered several years’ worth of thoughtful, analytical, and insightful talks she has given on the craft of writing and its intersection with the craft of editing. Having found her thoughts interesting, I was excited to learn that Klein is now releasing a self-published, crowd-funded (via Kickstarter) book on writing entitled Second Sight. I was lucky enough to get my hands on a review copy not too long ago, and found it be challenging, insightful, and professional in all the right ways. This is a book for people seriously interested in writing as both a craft and a career: people looking for touchy-feely encouragement or platitudes on the “writing life” need not apply.
From my perspective, this is high praise. What I look for in books on writing is a serious discussion of the techniques used to construct effective, powerful, and publishable fiction. Whenever I read a new book on writing, I am always comparing it to the books on my “Writing on Writing Shelf,” which is primarily stocked with classics like E.M. Forster’s Aspects of the Novel
Second Sight demands a modicum of pre-existing knowledge. Someone still struggling to grasp the basics of writing (figuring out what a plot is, understanding the difference between point of view and voice, etc.) will likely find this book intimidating. An intermediate writer (as I like to consider myself) – who has been working at the craft for several years, who has a finished (though not yet published) novel or two under their belt, and who is looking for helpful ways to think about technique – will derive a lot of value from this book.
Like Forster, Gardner, and Rand, Klein flits effortlessly between the high-concept philosophy of writing (the nature of fiction, the nature of art) and the gritty reality of constructing a working novel (building point, character, plot, and voice). It is clear in reading this book that Klein has thought long and hard about what constitutes good writing, and what criteria to apply when judging the written word. However, unlike E.M. Forster, or John Gardner, (and certainly unlike Ayn Rand) Second Sight is far less didactic.
Reading Le Guin’s, Forster’s, or Gardner’s works on writing, I am often reminded of looking at a skyscraper. In Forster’s Aspects of the Novel
When I finish classic books on writing, I am often left with a feeling of “Whoa,” as my perception of The Novel has changed. Reading Klein cover to cover doesn’t produce that response. Instead, each chapter of Klein’s book leaves me with a smaller sense of “Neat!” that shifts my thinking on a particular facet of the craft. I wouldn’t be able to swallow a book like this in one or two sittings. In the two or three months that I’ve had my review copy, I’ve found that I would read a chapter or two, put it aside, and then return to it repeatedly when running into tough spots in my own writing. And that is its primary value: as a helpful tool for the dedicated writer struggling with the minutia of craft.
The primary meat of this book is framed by practicalities. It opens with a series of brief philosophical musings on the nature of good writing, and then dives right into the process of finding a publisher. That fact alone should tell you that this isn’t a book for someone who has never written anything. However, those early chapters are beautiful for their simple, straightforward discussion of the publishing process. The annotated query letters (one “from hell” and one which “gets it right”) are excellent, providing real-world lessons that can be applied by anyone intending to pitch editors or agents.
The middle of the book consists of independent chapters on various aspects of writing. The subjects range from a working definition of young adult literature, to techniques for constructing picture books, to the relationship between plot and emotion. There are commonalities across all of these sections, but they are not structured – and should not be read – as laying out a dialectical argument. Instead, they are insightful musings on varied aspects of writing, which may be relevant to some readers some of the time…but not to everyone, and not always.
It is only as she approaches the end of the “meaty” section that Klein veers into a Forster-esque mode of outlining a “theory of the novel.” Captured in a sixty-four page quartet of chapters (with their own introduction), Klein discusses what she considers the pillars on which a novel rests: point, character, plot, and voice. While these chapters are insightful and valuable, they represent the book’s one structural weakness: up to this point, the chapters all provided valuable insight without relying on the other chapters. Diving into the quartet on page 186, with its concomitant shift in structure and tone, struck me as inconsistent with the rest of the book’s structure. Without a doubt, the quartet deserves a place in this book, and I understand the difficulty Klein likely had in figuring out how to get it to fit. However, I suspect it could have benefited from either an alternative placement (perhaps earlier in the book, amidst the more “philosophical” chapters), or a better lead-in. But despite the inconsistency in structure and approach, the quartet – and the other independent chapters – still provide great value.
The last third of the book returns us to the brutal reality of revising a finished work. Her chapter on twenty-five revision techniques is immensely practical, the type of bare bones heavy lifting that every author should do, but that nobody likes to think or talk about. This section is immediately applicable to anyone who has finished a written work (of any length), and is now embarking on the revision process. The concrete advice given here clearly stems from years of editing books as a career. No shortcuts are given, no platitudes are offered: writing is hard work, and Klein lays out a series of techniques to produce higher quality work.
Second Sight is unlike most of my writing library. In general, that library consists of books that either try to lay out an all-encompassing theoretical framework (Forster, Gardner, Rand), analyze critical genre theory (Mendelsohn, Clute, Suvin), or exhaustively detail a particular facet of writing (Card, Kress, Propp). Some of the books in my library are well worn: the books I return to frequently as I think about my own writing. Since getting my review copy of Second Sight, it has never left my desk. It doesn’t answer the question of “What is The Novel?” but it does answer the question “What goes into an effective novel?” And for someone working on writing new works while revising what they have already written, I suspect this is the most important question.
NOTE: As I mention above, Second Sight is a self-published book, and can be ordered from Cheryl Klein’s web site at: http://cherylklein.com/buying-second-sight. Also, be sure to check out her great blog.
, by an author I’d never heard of before, and with a cover not-quite-sf/not-quite-fantasy by 
(Book 2), or 
(Book 3). 
(Book 5), where a new reader coming into the story would be so completely lost in the whirling politics of gods, cities, armies, factions, squads, races, creeds, etc. as to make it an exercise in futility.
(book nine) as he now has all of the actors on stage and moving towards the climax in 
), F. Paul Wilson does an excellent job subverting staid vampire tropes and reveling in the devices of Gothic horror. Wilson’s deft command of craft as shown in his management of setting, and the gradual reveal of his monster make this book a worthwhile purchase.
, which similarly deals unflinchingly with delicate, complex, and powerful themes while keeping each book as an effective standalone novel.
and its disappointing sequel 
. Set in an entirely different universe, The Half-Made World shows that Gilman has clearly disciplined his imagination and gained a focus that had been lacking in his last novel.
(published in the US as 
) took us to Kenya, River of Gods took us to India, 
took us to (surprise!) Brazil, and now The Dervish House brings us to Istanbul.
, and River of Gods. Each of these books relies on the same narrative structure: different characters whose lives intersect through one (or a handful) of locations. McDonald does this better than anyone I can think of just now. But I’d like to see him stretch more, maybe try some different structures out. It would be nice to see, because having read most of his work I find that I know how it will flow. I can’t predict the events of the plot, but I can predict its cadences and rhythms. It’s like listening to a new symphony by a beloved composer: you can just tell how the music will swell next, even if you’ve never heard it. Much as I enjoy McDonald’s symphonies, I’d like to be surprised.
for the Wii. I loved the original Goldeneye game on the N64, and they have made an awesome new version of it for the Wii. Gameplay will be instantly recognizable to anyone who played the N64 version. The graphics have been updated (though seeing this on an Xbox-360 or PS3 would be even cooler), and the multiplayer is awesome as it ever was. Don’t know how the single-player mode runs, but multiplayer was great.
, odds are you’ll love Captain America: Super Solider. The gameplay looks very similar (they weren’t letting anyone play the demo, but the videos and the in-person demo’s by the reps looked identical). I loved Arkham Asylum and I’m definitely buying the new Cap game as soon as it hits the shelves.
for all the major systems. Looks like the original, only with some cool new gameplay features thrown in (jetpack!). The fun part seems to be what they’re doing with the story, basically giving Isaac a little more character and initiative than he had in the first game.
?). I tried to find some more, but alas no luck. Oh well.
The King of Elfland's Second Cousin 