Immediate Fiction: A Complete Writing Course / Edition 1

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From the legendary creator of the " Writers' Loft in Chicago comes a writing course for those who want to see results now. Immediate Fiction covers the entire process of writing including manuscript preparation, time management, finding an idea, getting words on a page, staying unblocked, and submitting to agents and publishers.
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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Adages ("Want + obstacle = conflict"), advice ("Make all of your story worth showing") and even an assortment of solitary words author Jerry Cleaver considers important ("fear," "worry," "hope") stand out in boldfaced type on the pages of Immediate Fiction: A Complete Writing Course. Cleaver, who founded the Chicago writers' workshop the Writers' Loft and has ghostwritten several books, insists that all one needs to be a successful writer is the "right tools" (while painting may require "inborn talent," writing doesn't) and in enthusiastic prose, he describes those tools one by one. With its writing exercises, time management hints and endlessly jocular encouragement, this volume will please many a would-be Welty or Wilde. (St. Martin's, $24.95 304p ISBN 0-312-28716-X) Copyright 2001 Cahners Business Information.
Library Journal
The creator of the Writer's Loft, an independent writer's workshop in Chicago, Cleaver has been coaching amateur writers into print for 20 years. Here he presents the basic outline of his course. In a breezy, informal, and personal manner, Cleaver shares his early difficulties and ultimate breakthrough, which led to his success as both writer and teacher. Crafting a story from idea through marketing takes skill, discipline, and talent. Cleaver, like so many of his ilk, encourages the development of all three through practice and daily writing exercises. He discusses self-editing, rewriting, time management, and the basics of plot and story. There's not much new here, but the price of the book is a bargain compared with the online course offered at Buy where there is an insatiable need for tips on how to write. Stephen King's On Writing is still the best of the recent crop. Denise S. Sticha, Murrysville Community Lib., PA Copyright 2002 Cahners Business Information.
From the Publisher
"Plainly gifted."

- C. Michael Curtis, senior editor, The Atlantic Monthly

"The best there is."

- Michael Harvey, screenwriter/filmmaker, Emmy Award winner, and 1999 Academy Award nominee for Eyewitness

"A true story master."

- Bernard Sabbath, Broadway playwright, author of The Boys in Autumn

"I recommend it to everyone who writes."

- Linda Lael Miller, author of eight New York Times bestsellers

C. Michael Curtis

Plainly gifted.
Michael Harvey

The best there is.
Bernard Sabbath

A true story master.
Linda Lael Miller

I recommend it to everyone who writes.
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Product Details

  • ISBN-13: 9780312287160
  • Publisher: St. Martin's Press
  • Publication date: 2/13/2002
  • Edition description: First Edition
  • Edition number: 1
  • Pages: 304
  • Product dimensions: 5.58 (w) x 8.58 (h) x 1.12 (d)

Meet the Author

Jerry Cleaver is a writer, teacher, and writing coach who created The Writer's Loft, Chicago's most successful independent writers' workshop for the last twenty years. He has given special story seminars for Writers' Digest and created the "Write Your Novel Now" Internet course. Published in various magazines and a ghostwriter for several books, Cleaver lives in Chicago, Illinois with his wife.

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Read an Excerpt

Immediate Fiction


Rules of the Page

Creativity obeys an unusual and contrary set of laws. If you violate them, you will expend enormous amounts of energy and get nowhere—just as you would if you pressed the gas and the brake to the floor of your car at the same time. Many writers give up, feeling they're incapable, when the only problem is that they're unwittingly violating these natural laws. To put it simply, they're trying to do the impossible. Trying to do the impossible is the major cause of frustration, discouragement, and failure for writers.

All of this trouble stems from misconceptions about how the process is supposed to work. It's the result of trying to impose normal, everyday, noncreative standards upon a process that isn't normal. That's right. Creating isn't normal reality.


You will make a mess. Creating stories is never a neat, orderly, or predictable process. Mess is inevitable. You make a mess. You clean it up.You lose your way. You find it again. Your writing veers away from the story. You rein it in, or you follow it to see where it takes you. You do this many times until you get where you want to go. So, accept the mess as inevitable and good, let it happen, work with it, and you will get there a lot faster.

You must write badly first. Trying to get it perfect right away will only get you blocked, because the bad comes first. No one does it on the first draft. Writers write many drafts to get it right. Hemingway, in typical macho style, said, "The first draft is always shit." If Hemingway's first draft was shit, why should you expect more? Once again, bad is good. Believe it or not, you'll do better if you lower your expectations. By not expecting so much, you'll give yourself the space, the slop you need, to work. So, don't hold back. Gag the critic in you, and dare to write badly. It's the only way.

Mistakes lead to discovery. This is a game of mistakes. Art begins in error. Mistakes and uncertainty are good. They create new combinations and possibilities. Penicillin, the lightbulb, the Slinky were all the result of mistakes. Creative people have a lot more good ideas than other people do, and they have a lot more bad ideas. They have a lot more ideas because they let everything out. They know the good and the bad go hand in hand and that letting yourself be bad is the best way to become good.

Here's an old writing anecdote that expresses this well: The beginning writer writes his first draft, reads it, and says, "This is awful. I'm screwed." The experienced writer writes his first draft, reads it, and says, "This is awful. I'm on my way!"


Writing badly may not be fun (although it can be once you stop worrying about it), but the great thing about writing is everything can be fixed. And fixing makes exciting things happen. Writing is rewriting. Everything can work, because you can add, subtract, make changes and adjustments until your story comes alive. There's always a way. The way is technique—story craft.

In all of this, a relaxed, unhurried attitude will get you there faster. But that's hard to achieve when it's so important to you, which brings us to the next point.


What I'm saying is, The less you care, the better you write. But how can you make yourself not care about something you're pouring your heart into? Well, it can be done. Practice is always the first step—writing and writing and writing until you let go of the tension and relax, until you no longer have the strength to be uptight. When you just dash it off to get it over with is when the best things happen.

Another thing to keep in mind is, Everything that happens is OK. No matter what problem you have (confusion, worry, self-doubt, panic, emptiness, paralysis), it's OK. It's no reflection on you or your ability. It's all a natural part of the process—what every writer must face. You're not the only writer who's ever had these problems. You'll feel you're the only one, but I can tell you that you won't be inventing any new writing miseries. They've all been experienced before—and dealt with successfully. So, try not to blame yourself or punish yourself. And keep the following examples in mind.

The famous French writer Gustave Flaubert (Madame Bovary)struggled for three days, threw a monumental tantrum, rolled on the floor, chewed the rug, and bashed his head against the wall to get eight sentences on the page. Oscar Wilde (The Importance of Being Earnest, The Picture of Dorian Gray) said, "I spent the morning putting in a comma and the afternoon taking it out." All writers are susceptible to such misery. So, when you get into this kind of a jam, remind yourself that you're in good company. Then get your mind back on the craft and technique you're going to learn, and you'll get out of your funk.


Progress is never even. In everything you do, some days you're a whiz, and other days you're a dud. Writing is no different. It's like everything else in life. So, when you have a bad day, don't despair. Just keep plugging away, because how you handle your slumps is what makes you or breaks you. And it's not all bleak because it will get good again—always. You will bounce back. I guarantee it. Not only will you rise out of your slump, but you will reach your best level of writing, and you will exceed it—if you keep at it. Then you will dip down—and rise again. You will always lose it, and you will always get it back—and then some. Think of writing as a relationship with another person. It's at least as thrilling—and at least as miserable. You don't get one (thrill) without the other (misery). But in writing, the thrills make up for the misery.

Speaking of misery: Some writers take years to write a novel. Joseph Heller took 10 years to write Catch-22. Tom Wolfe took 10 years to write A Man in Full. That's one end of the spectrum. At the other end is Nabokov, who wrote Lolita in three months. James Hilton wrote Goodbye, Mr. Chips in four days. Now, Goodbye, Mr.Chips was a slim little novel, but at the rate Hilton took to write it, Heller would have finished Catch-22 in a month or two.

So, what accounts for the difference between the 10-year novel and the four-day, four-month, or 1-year novel? Well, I can tell you that Heller and Wolfe were not banging away eight hours a day, five days a week, on their novels for 10 years. No—they were struggling, straining, spinning their wheels, doing all kinds of things other than writing. The difference between them and the writers who do it in days, weeks, or months is not how much time they spend writing, but how much time they waste trying to write.

Wasting time and energy is what you're going to learn to avoid. The point is: it's easier than we make it. But it's hard to make it easy—unless you know how.

Of all the advice writers give out, there is only one thing they all agree on. They all say: Stick to it. Don't quit. Don't give up. Keep writing no matter how awful it feels. Do your daily writing. Remember, it's no different from the rest of your life, with its ups and the downs.

A professional writer is an amateur who didn't quit. Not quitting is vital. The other equally important factor is guidance. Sadly, 99 percent of all writers never publish. It's not that they quit or don't try or don't write their hearts out or don't do what the writing books and courses tell them. They don't make it because they have no guidance or poor guidance. Sadder still, they could publish—if only they learned their craft. Craft is the key, but you can't learn it on your own. You can teach yourself golf, tennis, or basketball—up to a point. On your own, you can learn enough to get around eighteen holes, hit a ball over the net, or make a basket, but how many successful athletes learn on their own without lessons or coaching? How many teams play without a coach? None. Professional athletes are on teams getting coaching and lessons for years before they make it.

For writing, guidance and coaching are just as important. As in any discipline (sports, music, dance, painting), you need to practice until it's a part of you, until it's reflex, until you perform without thinking. Again, my personal estimate is, the right guidance will get you there at least ten times faster. Guiding you and giving you the tools to guide yourself are the goals. This course is designed to make a short trip out of what can otherwise be an endless journey.

What you'll learn is technique—how to do it. Technique is neutral. You can use it to write any kind of story you choose (science fiction, romance, adventure, fable, fantasy, mystery, crime, literary). With proper technique, whatever you write can be shaped into a complete story. The complete story is what all great story writers write (Shakespeare, Hemingway, Steinbeck, Fitzgerald). A complete story is the most fulfilling, because it has the shape of our most meaningful experience. Whether it's comedy or tragedy, it gives us what we need from experience. What we need from experience and stories, along with how to put together a story that fulfills that need, is what the next three chapters are about.

IMMEDIATE FICTION: A COMPLETE WRITING COURSE. Copyright © 2002 by Jerry Cleaver. All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. For information, address St. Martin's Press, 175 Fifth Avenue, New York, N.Y. 10010.

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Table of Contents

1 Rules of the Page 1
2 Theory 7
3 Story 19
4 Fine-Tuning 43
5 Use or Abuse - Self-Editing 62
6 The Active Ingredient - Emotion 70
7 Showing 97
8 The Second Time Around - Rewriting 107
9 Method - How To. How Not To 135
10 Under the Sun - Uniqueness. Universal Plots 143
11 Point of View 149
12 The Ticking Clock - Fitting It In 158
13 Dead Weight - What You Can Ignore 183
14 The Long and the Short of It - From Short Story to Novel 188
15 Hitting the Wall - Blocking and Unblocking 207
16 Stage and Screen 244
17 To Market to Market - When to Submit, How, and Why 256
Conclusion 269
Index 275
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Customer Reviews

Average Rating 4.5
( 24 )
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Sort by: Showing all of 12 Customer Reviews
  • Anonymous

    Posted February 20, 2002

    For all writers: a must-have tool!

    If you're a writer, you must have this book. It will save you valuable time trying to learn technique on your own. I used it, and have finished my first novel.

    2 out of 2 people found this review helpful.

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  • Anonymous

    Posted March 13, 2004

    The Last Book on Writing You'll Have to Buy

    As a perfectionist who refuses to write one word on paper until I feel I have a true, competent understanding of the process, I picked up yet one more book, 'Immediate Fiction.' This is a book written in laymen's terms without the author speaking down to me. I found myself slapping my forehead, thinking how much time, energy and frustration I could have foregone had I found this book earlier on in my writing career. Thanks, Jerry!

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 10, 2004

    Clear and Concise

    This is an excellent book that I would recommend to all prospective writers, both fiction and nonfiction. The author presents his material in a straightforward and entertaining manner. Cleaver¿s message can be distilled into the following steps: a character wants something, faces obstacles to achieving this want, takes action to overcome these obstacles, and eventually resolves the situation and achieves his or her want. According to Cleaver, a storyteller who can present a story in terms of want+action+resolution, combined with emotion and showing techniques, is sure to get published. This book helped me the most by describing how many writers become stifled in their creativity because they are confusing when to let the writing flow, and when to edit. In a first draft, Cleaver claims the writer should be in flow mode. Edit mode comes only after the first draft is on paper. Using his suggestions, I wrote my first children¿s book: Abby and the Bicycle Caper, currently available on BN, and am nearly finished with the first draft of my second book.

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  • Anonymous

    Posted March 6, 2003

    God thinks he is Jerry

    I have been taking Jerry's classes on and off for over 4 years now and it is simply the best. The man is clearly gifted and has a proven formula that any aspiring writer can relate to. I love it!! This book is the bible.

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  • Anonymous

    Posted September 25, 2002

    How to for Fiction

    The great thing about this book is it tells you how to write fiction. I have been doing this for a while but it was only after I read Imediate Fiction that I learned what I am doing. No more fiddling around. Imediate Fiction talks about what a plot is, action and oppostition to that action. The book also tells you what to do when rewrting. How do you know when you have finished rewriting

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  • Anonymous

    Posted October 1, 2002


    This was the first book on writing that I should have gotten. In fact I should have gotten this book before going to college for creative writing. To be a better writer is to write a lot, but to save yourself years of mistakes is to READ THIS BOOK. Cleaver left out all of the flowering and only added the useful stuff. I started reading this book like I did all of the other writing manuals, with a careful eye in catching something new, and with a highlighter ready to mark it up. But what happened was after the first chapter, I found that I was marking large blocks on almost every page. "Forget the highlighter, just leave the darn thing on the shelf next to the bible, the Thesaurus, Strunk & White and the dictionary."

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  • Anonymous

    Posted August 6, 2002

    I took this course

    I have taken this course at Jerry Cleaver's loft in Chicago and found it to be the most specific and useful workshop I have ever taken...I am an 'intermediate' level writer and needed something that offered structure and more depth than the usual creative writing class. I have taken writing classes at Newberry Library in Chicago and at the University of Iowa's Summer Festival among others and although I learned a great deal from them nothing compares to Jerry's approach. Give this book a try; I can't imagine any writer at any level not learning something from this book.

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  • Anonymous

    Posted July 7, 2002


    This book cuts right to the heart of it. I've read a lot of how to books on writing, but this is the only one that makes it crystal clear. I believe I can write my novel now. If I can't, it will be my fault.

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  • Anonymous

    Posted May 3, 2002

    Immediate Fiction - a classic next to Becoming a Writer

    I have been writing all my life and I find Jerry Cleaver's Immediate Fiction the only book I would put next to Dorothea Brande's classic Becoming a Writer. Jerry helps you distinguish who is really telling the story -the author or the character. His advice of applying - want, obstacle, action - to each page of the story takes the drudgery out of putting the words on the page. Jerry gives writers ideas about finding time to write, getting more organized to write, and completing projects. I cannot recommend Jerry's book enough.

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  • Anonymous

    Posted April 14, 2002

    Immediate Fiction: A Complete Writing Course

    I appreciated this book far more than any other book I have yet to read about the mysterious art of fiction writing, and I have read aplenty. This author's advice and instruction are extremely practical. He explains in no uncertain terms how to do everything from motivate yourself to get started, to bringing your novel to completion, and all things in between. If you are serious about becoming a writer, you need to get this book.

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  • Anonymous

    Posted April 14, 2002

    Immediate Fiction: A Complete Writing Course

    I feel like I have been all around the world in search of a good book on writing. And now I have found a great one! I have been writing badly (although prolifically) for more than a decade. I have been working with many, many misconceptions. I feel like this book has straightened me out by not being vague, and by outlining a very specific strategy designed to make the reader genuinely productive. Oh, I making little sense I am afraid. Do you get that same feeling? Just read the book. Mr. Cleaver writes far better than I, (but he has given me new hope).

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  • Anonymous

    Posted February 21, 2002

    Better than any graduate level writing class I ever took

    Finally -- someone who understands what makes a story work, and can explain it clearly! I've read dozens of writing books and taken graduate level classes from some very famous writers, and this book has more practical advice than all of them put together. I cannot recommend it highly enough. It will make your writing life and anything you write better.

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