In linear design, a writer would think of his or her material as a sculptor might, regarding one block of wood or granite by imagining the seemless, smooth shape that could be carved or chiseled out. In modular design, however, the writer's effort is not aimed at whittling away at the block until the form beneath is clear, but at assembling bits and pieces, as one would a mosaic. Looking at the work from a distance, the writer would thoughtfully place these bits and pieces in a meaningful, aesthetically pleasing way, letting the natural contrast between pieces, speak to the whole. If linear design is essentially subtractive, Mr. Bell says, modular design is additive. John McPhee has used this form, to a large extent, and to great success.
Many essayists rely on modular design.
The book is particularly enjoyable because of the form Mr. Bell has chosen. He relies on a wide range of stories, analyzed in detail, peppered with footnotes, to examine the structural choices of professional and student writers. Best of all, Mr. Bell writes wonderfully and playfully. His observation of writing structure as analogous to the underlying chords for jazz or rock 'n' roll improvisation is an example of his own ability to riff on a theme, compelling writers to have fun, to think seriously about the value of form, but to find ways of using structure that leave the imagination lively and flexible. I am a non-fiction writer, so Mr. Bell's work interests me in ways in which his lessons can be applied to literary journalism.