**I. Purpose and Core Philosophy** James A. Michener's _Writer's Handbook_ is presented as a "workbook" designed to guide readers through the intricate process of transforming a manuscript from its "initial concept to finished book". Michener clarifies that it is **not** a book solely on writing (which he considers only one-third of the job), nor on editing (which comes later), nor on the final preparation for the printer (which is handled by others). Instead, it aims to provide a comprehensive, step-by-step account of the entire operational chain. The handbook is also intended to assist aspiring writers, particularly young individuals considering writing as a "noble profession," by addressing frequently asked questions about the craft and publishing. Michener views writing as an "honorable gamble" of one's talent against the world, advocating for writers to risk everything on sales to the public. His ultimate, concise advice: "The secret to writing is writing". **II. Content and Structure** The book draws its subject matter from two of Michener's previously published works: the novel _Journey_ and the nonfiction book _The World Is My Home_. By using actual pages, often directly from his typewriter or his secretary's word processor, the handbook allows readers to trace Michener's thought processes through individual sections, paragraphs, sentences, and even specific words. The virtue of this workbook lies in its focus on "passages of such limited length that the reader can keep them in mind while turning the pages". It aims to reveal which form (novel or nonfiction) presented more significant challenges in the writing process. A notable example of content is the discussion of a Mackenzie tale, originally intended for _Alaska_ (part of _Journey_), which became a separate book due to its length and irrelevance to _Alaska_'s plot. The book also references a Tongan history, where names of antagonists are masked as "Commander and Doctor". **III. Michener's Writing Process** - **Tools:** Michener exclusively used a typewriter, while his secretary utilized a word processor. He notes that the word processor output provides "the impression of being a real manuscript" and allows for the text to be "tightened, refocused, and in a curious sense purified," making it more readily taken seriously. - **Rewriting and Emendation:** Michener candidly states, "I’m not a good writer, I’m a masterly rewriter". The handbook illustrates how new, unmarked material is seamlessly integrated with original content. He emphasizes that this improvement process is not easy. - **Outlining and Notes:** Michener does not adhere to traditional outlining methods for entire books or chapters, such as using notebooks or filing cards. Instead, he keeps a blank page for each chapter, titled with the chapter's name (e.g., "Meaning"), on which he jots down notes, reminders, to-do lists, and proposed developments as they occur to him. - **Self-Reflection and Criticism:** The book includes Michener's self-evaluation, detailing how he perceives himself as a writer and how he has responded to criticism. These sections demonstrate the "exploration and the groping for meaning that characterize the final stages of a manuscript". - **Research:** Michener personally conducts all his research, refuting rumors of employing a large staff for this purpose. His assistant, John Kings, handles business details, scheduling, and logistical support, such as retrieving multiple copies of required books from various university libraries, demonstrating efficiency. - **Veracity and Memory:** Michener acknowledges that verifying information can be challenging, sometimes relying on personal memory, especially when substantiating papers are lost, witnesses have died, or official reports are buried. He admits his memory can sometimes be deceptive, citing an instance where his recollection of meeting James Norman Hall was inaccurate. **IV. Editorial Process and Collaboration** Michener highlights the critical role of editors in the publication process: - **Editorial Counsel:** He expresses receptiveness to editorial advice, noting the "gem of editorial counseling" received from Dinah Forbes of McClelland & Stewart (his Canadian publisher), who provided new research sources for the Canadian Arctic sections of his narrative. He also acknowledges the understanding and cooperation of Ms. Evans in New York. The expansion of a chapter segment into a full novel, involving two publishers in different countries, presented a unique challenge that required significant collaborative effort. - **Manuscript Review:** The handbook describes how anyone involved in the project, including editors, copy editors, house lawyers, and the author, continuously review the manuscript for improvements until just before typesetting. The extensive inserts required during the transformation of a chapter into a full-length book necessitated the use of alphanumeric page numbers (e.g., 185-A) to help his secretary track the new material. - **Libel Review:** For nonfiction works, especially those involving real people, the manuscript undergoes review by a libel lawyer. Michener includes his responses to points raised by Mallory Rintoul, his publisher's in-house expert, underscoring the "invaluable" nature of such counsel given the legal landscape. - **Final Typesetting:** The original, carefully researched, and edited material is retained as the "basic structure" for the reworked copy. Selected pages illustrate how elements like geography and characters are more fully described, and dialogue scenes introduced or expanded, sometimes showing inserts replacing cut passages. **V. Advice for Aspiring Writers** Michener offers practical advice derived from his extensive experience: - **Entering the Profession:** He notes that established writers eventually retire, creating opportunities for new talent. - **Letter of Inquiry:** This is deemed one of the most important letters a writer will ever compose. It should be addressed to a specific editor if possible and enticingly present the manuscript's subject. Crucially, it must establish the writer's credentials (education, writing courses, published works) to encourage the editor to review their material. A self-addressed, stamped envelope (SASE) and the writer's address in the letter are essential. - **Portfolios vs. Pounding Pavement:** While direct visits to publishing houses are less effective, a portfolio of published articles demonstrates a writer's command of language and industry rules, distinguishing them from those who merely possess a good grade in English. - **"Rogue-Elephant Approach":** As a last resort, Michener suggests leveraging personal, long-standing friendships with someone in the writing profession (publisher, editor, agent, writer) to sponsor a manuscript, acknowledging that the frustration of being unheard can excuse such "intrusive behavior". - **Royalties vs. Outright Sale:** Michener vehemently advises against selling all rights to a manuscript, calling it "immoral" and "pathetically unfair". He stresses the importance of retaining copyright and earning royalties, likening permanent rights to "spare buckets of blood plasma" that can revitalize a work. He shares that he often invested over $100,000 in research and secretarial support before submitting long novels, highlighting the financial gamble involved. For short stories, an outright sale is customary, but the writer should still retain copyright for future reprinting, as well as film, television, and foreign sales rights. - **Publicity:** While finding publicity distasteful at his age, Michener advises beginning writers to cooperate fully with a publisher's publicity department to establish their identity. He illustrates this with a story of a large book order contingent on his participation in an autographing session. - **Essential Skills:** Michener poses ten questions to gauge a writer's potential, emphasizing a "lusty affirmative" to each. These include the ability to tell stories, understand human motivations (including gender differences), imagine the course of a seventy-year life, inhabit the perspective of a three-year-old girl or someone on death row, and even imagine being a pelican or describing a prairie at dawn. The most crucial skill, however, is the **desire** to perform these imaginative acts—the "longing to put dreams into words". - **Discipline:** He asserts that most successful writers compose their first three manuscripts at 4:00 AM (or after 11:00 PM) before or after a full day's work, stressing that such discipline is indispensable for a writer. - **Manuscript Formatting:** He notes that professional writers in seminars he assists will only accept typed or word-processed student papers that adhere to magazine submission standards (spacing, margins, neatness), with multiple copies. He deems a word processor "almost obligatory".