Book writing methodology

[Rachmaninov]

Hello Mr Kaufman,
Since you are very few great writers of magic books, i would like to know if you have discussed in the past the subject of methods in writing a book : how are you working ? I think all of us know the different steps : collect the material, drawing, organizing...but what is the principles at work behind these tasks? How do you capture the magical essence of an artist ?

[Richard Kaufman]

There is no magic series of steps.
1. Convince subject to give up all secrets
or ...
Come up with an idea for a book where the person is dead
or ...
Come up with an idea for a compilation of material.

2. Collect material.

3. Write material.

4. Photograph material.

5. Layout book.

6. Send to printer.

7. Sell finished product.

There really is nothing more to say beyond that. Some tricks appeal to me and others don't. Some photographers appeal to me and others don't. Some book designs appeal to me and others dont.

I can't explain my "taste." You can look at books by Stephen Minch and compare them to mine and try to find things which are consistent enough that could then be used to define our "taste" in some way. I don't see much point in it.

[Jon Racherbaumer]

I love what Ernest Hemingway said about writing: “There is nothing to writing. All you do is sit down at a typewriter and bleed.” I wish I could claim to be a “writer” (in the refined and proper way that title should be defined), but I consider myself a “recorder” and “re-arranger” and “compiler.” Sure, I type words. But this is not necessarily creative, refined writing.

Yes, I’ve also typed millions (yes, millions) of words and have cobbled together a large number of books, but I consider all of them “abandoned works,” incomplete books, each replete with errors and ultimately somewhat messy products. I excuse this by saying, “Hey! They were labors of love!” Most of them cost me money. (I thought “profitable” was spelled “prophet-able”!) And I didn’t discover Moliere’s wicked remark about writing until it was too late:

“Writing is like prostitution. First you do it for love, and then for a few close friends, and then for money.”

Yes, I loved typing all of those words. A few friends liked the results. However, as far as money is concerned, I’d rather not talk about it.

My advice? Follow Richard Kaufman’s outline and then get ready to bleed or, better yet, quickly change your mind before it’s too late.

Onward…

[Ted M]

Richard, you clearly have a preference for the large 9"x12" hardcover book format, but how did you arrive at that preference? I look at my shelves and see only a handful of single-magician books in that format prior to you establishing it as a standard -- the Kosky and Carlyle books, the Tenkai book, The Doc and His Deck... Why that choice/vision of format? Did those books or others inspire you in some way?

I was fairly surprised (almost stunned, even) not too long ago when I tracked down a copy of your CardWorks and found it was published in a smaller format, and this after you'd seemingly established your format with CoinMagic and CardMagic. Why that choice?

I enjoy reading about process, choices and decision-making. Your recent few column inches in Genii Speaks recounting how you got together with Alan Greenberg made me want to read a much longer and detailed history of modern magic publishing -- maybe back to Greater Magic, since that seems like such a game-changer...

[Rachmaninov]

In French, we say "décrire, c'est déjà interpréter" : describe is already an interpretative effort. So i don't really agree with you Richard on the simple point "I just do it". At each times, it's a great result : according to my humble view, it's always a fascinating journey. I just want more at the end of the book, not more tricks, but more biographical, philosophical and analytical insights.

Dear Jon, your modesty prevent you from recognize all the anonymous readers who enjoy your columns and your too rare publications. You are a fantastic magical resource being. And i suggest you to publish (in a genii column or booklet form) some bibliographies about the main themes in magic (tricks, theorical essays, art in general...). The quantity of books you have read is certainly amazing (have you an idea of this number?) and you are the right person to do such an task. Fewer and fewer magicians take their homework seriously but to those braves, it would be a invaluable thing.

[Rachmaninov]

And oh no ! i have absolutely not a writing project in mind ! I'm just interested in the men, the motivations and the works behind the books I'm reading.

[Richard Kaufman]

The choice to do oversize hardcovers (8.5 x 11) was a simple necessity in order to accomodate the number of illustrations I felt were necessary on every page in order to teach clearly.

And I don't like tiny illustrations: the larger the better--I feel it's easier to learn from a larger drawing (or photo). Lloyd Jones, when reviewing one of my early books in Genii, wrote that there was no need to waste all that space with large illustrations. His comment was so stupid I've never even repeated it before.

However, the work of some illustrators is drawn to be reproduced at a smaller size: Joe Schmidt, for example. When I used his drawings, they were always reproduced much smaller than I usually did.

[Tom Stone]

3. Write material.

4. Photograph material.

This surprised me!
I never write a single word until all the illustrations are done. I assumed you did the same.

[Richard Kaufman]

Tom, I always have completely finished text before shooting a single photo. This is how I was taught by Harry Lorayne and it has generally served me well: I try to write as if there are not going to be any illustrations.

[Jon Racherbaumer]

I agree with Tom regarding the order of writing text and shooting photos..when this is possible. Tom and I are attracted to the iconic rather than the textual. You must be able to handle the task if photos are done near the end.

BTW, I'm working on three other books that explore aspects The Rachman mentioned.

[Rachmaninov]

Jon,
Could you please tell us a little more about your current works ?
Mathieu

[Ian Kendall]

For what it's worth, nearly all the time I'll write before I take any photos. My reasoning is that the description should stand up without the photos if necessary, and so I add them after the fact.

However, while writing I'll make a note that I need a photo for a particular step, so I don't miss it later.

Also, I try to write with props in hand where possible; this allows me to think about what is happening and I can match the photos with the text. If I had taken them before, and I noticed that something needed to be changed while writing, I would have to set up another photo session.

[Dustin Stinett]

"I hate writing, I love having written."
—Dorothy Parker

[Richard Kaufman]

I genuinely enjoy writing.

But boy oh boy did I hate drawing.

[Gordon Meyer]

Although writing magic books is not my job, I do write scads of other technical material. And I also write it completely before adding any illustrations (or, in my case often, screen shots). I feel it leads me (the writer) to a better understanding of where illustrations can be used for the greatest impact once I have it fully understood and described using only words.

[Bob Farmer]

How to right reale gud.


First, follow Elmore Leonard's rule: take out all the stuff people don't read.

Second, writing is rewriting and editing. Start anywhere, beginning middle or end. You can always figure it out later.

Third, (sort of like second), let the material tell you what to write and where to put it. Don't impose some ideological or procedural rules (like this one, for example) on the material.

Fourth, never pay any attention to what your friends, family, girl friend, cousin, other magicians, etc., have to say about anything. The only people you should listen to are:

a) People who can write you a check or send cash for your writing.

b) People you know know what they're talking about.

c) Yourself (easier if you hear voices).

Fifth, if you need illustrations, do them yourself (or take a picture) just so you can get the damn book finished. When all done have a real artist re-do everything.

Sixth, hire a good editor.

Seventh, and perhaps first, if it's a magic book read and follow Stephen Minch's book, "On Writing Magic." I don't follow all of Stephen's rules (e.g., "Listen to Kenny G as you write."), but he has given a lot of thought to the subject and even if you break one of his rules, it's good to know why he finds the rule important.

[Tom Stone]

Seventh, and perhaps first, if it's a magic book read and follow Stephen Minch's book, "On Writing Magic."

His style guide can be found here:
http://hermeticforum.com/viewforum.php?f=5

[Bob Farmer]

Tom has a good book on how to write a book. I can't find my copy at the moment--Tom chime in.

[Tom Stone]

Tom has a good book on how to write a book. I can't find my copy at the moment--Tom chime in.

Here: http://hermeticforum.com/viewtopic.php? ... 15d520dfd3

[Mike Remington]

As a book collector, with so many of my favorite authors on this forum, I was hoping this thread would go on longer. In addition to the ones who have already chimed in, it would be interesting to hear from Messrs. Biro, Lorayne, Maven, McCabe, Regal etc.

I have a question about style.

Richard's books have a unique look and feel especially with the drawings and size to accomodate them. His writing style strikes me as one that is fairly neutral allowing the magician subjects of his books to come through.

Jon seems to have writing styles which range from highly distinctive in periodicals through fairly distinctive when writing about himself or Marlo to one that gives a strong voice to the subjects of his single magician books.

Harry Lorayne has a distinctive voice whether he is writing about himself or about someone like David Regal or Doug Edwards.

My question is whether these authors or others consciously choose the styles in which they write.