Provost sets the tone of this book from the very first page when he asks the question "Can writing be taught?" and answers with "No, throw this book away."

This book taught me real methods for writing and editing what I write.

Provost also includes many exercises that aren't boring, and actually quickly enforce the point he is making in the chapters.

I've owned this book since 1991 and it is a book that I continually reference. And it's not only a great book of information, but it is also a great read.
Be thankful that this book is still available and buy it as soon as possible.

13 of 14 found the following review helpful:


A Great Teacher's Toolbox of Practical Tips  Dec 13, 2007 By Maine Character
"Our English teachers were well-meaning, most of them, but they were hired to teach us good grammar, not good writing." - Gary Provost

Make Your Words Work is one of those books you're hesitant to pick up, thinking you're going to be bored with grammar, and instead find a delightful, informative read.

But don't take my word for it - listen to Provost himself: "Do you know what modal auxiliaries are? Can you explain the difference between determiners and adjectivals? I sure as heck can't, and I've sold sixteen books and a thousand short pieces."

Provost writes with a breezy, personal style, always clear and concise and often witty. It's as much about non-fiction as fiction, so you get a well-rounded set of tools you can adapt to any project you tackle. Provost also knows to avoid the tedium of long stretches of text, and so he breaks up each chapter into sections just a page or two long, with exercises, Coffee Breaks, and examples from TV and movies added in as well. It also doesn't hurt that the print is large and the layout easy to read, or that many of the chapters first appeared in Provost's articles for Writer's Digest.

Many books on writing just go on and on about vague topics like Theme, all airy philosophy, but Provost caters to none of that. He cuts the chatter and gives you what you need. It's the difference between a professor lecturing on the role of photography in the modern world and an actual photojournalist taking you out to a baseball game and saying, "This is how you set the shutter speed, and for sports you want it at 1/500th to freeze the action."

For an example of that, take Chapter Thirteen, on Tension. He starts with Find Tense Words (words of delay, danger, urgency, and fear, with examples of each), then teaches you how to Arrange Sentences with Tension in Mind - "That's a nice enough little paragraph. There's nothing terribly wrong with it, but there's no tension in it because it answers all your questions before you have a chance to ask them." Next he moves onto how to Milk the Tension (with exercises), and then brings up Tension in Non-Fiction, Surface Tension - "With description, remember that a tree is a lot more interesting if there might be an Indian hiding behind it," and finally tops it off with Pulling the Tension Cord.

And it's the same with each chapter, from Music to Pace to Voices to Viewpoint.

In the end, the book comes off like an informal, one-to-one talk with someone willing to share their many years of experience in the fields of both fiction and non-fiction. So grab some coffee and sit down with Gary - you'll enjoy the visit.

P.S.
The book deserves this reprint, but that cover with the old computer paper with columns of numbers and some lunky gear lying on top makes no sense. In the earlier WD edition (which I posted the cover of) there's a sketch of three gears, interlocked, showing not only the nuts `n bolts subject matter, but how each piece connects with each other to get your writing going. Also, in the original there's no "Writing dreams do come true!" hype on the cover. Just plain ol' "Proven Techniques for Effective Writing," which is exactly what one needs.

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