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Inspiration & Creativity & The Basics of Writing
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Bird by Bird: Some Instructions on Writing & Life by Anne Lamott
Amazon.com Review
Think you've got a book inside of you? Anne Lamott isn't afraid to help you let it out. She'll help you find your passion and your voice, beginning from the first really crummy draft to the peculiar letdown of publication. Readers will be reminded of the energizing books of writer Natalie Goldberg and will be seduced by Lamott's witty take on the reality of a writer's life, which has little to do with literary parties and a lot to do with jealousy, writer's block and going for broke with each paragraph. Marvelously wise and best of all, great reading.
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Writing Down the Bones by Natalie Goldberg
Amazon.com Review:
Wherein we discover that many of the "rules" for good writing and good sex are the same: Keep your hand moving, lose control, and don't think. Goldberg brings a touch of both Zen and well... *eroticism* to her writing practice, the latter in exercises and anecdotes designed to ease you into your body, your whole spirit, while you create, the former in being where you are, working with what you have, and writing from the moment.
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On Writing: A Memoir of Craft by Stephen King
Amazon.com Review
Short and snappy as it is, Stephen King's On Writing really contains two books: a fondly sardonic autobiography and a tough-love lesson for aspiring novelists. The memoir is terrific stuff, a vivid description of how a writer grew out of a misbehaving kid. King evokes his college days and his recovery from the van crash that nearly killed him, but the focus is always on what it all means to the craft. He gives you a whole writer's "tool kit": a reading list, writing assignments, a corrected story, and nuts-and-bolts advice on dollars and cents, plot and character, the basic building block of the paragraph, and literary models.
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The Creativity Book: A Year's Worth of Inspiration and Guidance by Eric Maisel
A complete creativity education in one volume. Everything you need to know to increase and unleash your creativity, by America's leading expert on the psychological side of creativity.
Whether you're a painter or a human resources manager, a novelist or an information services specialist, says Eric Maisel, whatever you do, creativity helps you do it better.
In this book, Maisel presents a complete one-year plan for unleashing your creativity. It includes two discussions/exercises per week, and culminates in a guided project of your choice--from working on your current novel to planning a new home business.
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Writing Technique: Plot, Characters, Structure, Editing
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The Anatomy of Story: 22 Steps to Becoming a Master Storyteller by John Truby
from the back cover: John Truby is one of the most respected and sought-after story consultants in the film industry, and his students have gone on to pen some of Hollywood's most successful films, including Sleepless in Seattle, Scream and Shrek. Based on the lessons of his award-winning class, Great Screenwriting, The Anatomy of Story reveals all his secrets for writing a compelling script. The book draws on a broad range of concepts and archetypes from philosophy and mythology, offering fresh techniques and insightful anecdotes alongside Truby's own unique approach to building an effective, multifaceted narrative. The foundations of story he lays out are so fundamental that they are applicable - and essential - to all writers, from novelists and short-story writers to journalists, memoirists and those interested in narrative nonfiction.
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The Writer's Journey: Mythic Structure for Writers by Christopher Volger
Amazon.com Review
At the beginning of The Writer's Journey, Christopher Vogler asserts that "all stories consist of a few common structural elements found universally in myths, fairy tales, dreams, and movies." Some may be hard-pressed to accept this idea (and will wonder how storytellers from Homer to Shakespeare to Robert Altman might respond to the proposition). Others may imagine that since Vogler uses movies like the Star Wars trilogy and The Lion King to defend his mythological philosophy, he is, unwittingly, listing the reasons why Hollywood films of the last 20 years have been so unimaginative. But there's no doubt that Vogler's notion, based on psychological writings by Carl Jung and the mythmaking philosophy of Joseph Campbell, has been profoundly influential. Many screenwriters have used Vogler's volume to understand why certain scenarios sell, and to discover a blueprint for creating mythic stories of their own.
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No Plot? No Problem! A Low-Stress, High-Velocity Guide to Writing a Novel in 30 Days by Chris Baty
Library Journal Review
Every November, tens of thousands of people sign up for National Novel Writing Month and attempt to write a 50,000-word novel. Baty, the brains behind this competition, has produced an uproariously funny motivational manifesto so readers can get a leg-up in his race or in the larger publishing game. The key is to lower your expectations "from 'best-seller' to 'would not make someone vomit,' " says Baty, who maintains that stress and a deadline are important parts of writing. Aimed at the nonserious, with an emphasis on summoning creativity and having a life-changing experience, this original approach will appeal to anyone up for a challenge.
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Story: Substance, Structure, Style and the Principles of Screenwriting by Robert McKee
Amazon.com Review
Writing for the screen is quirky business. A writer must labor meticulously over his or her prose, yet very little of that prose is ever heard by filmgoers. The few words that do reach the audience, in the form of the characters' dialogue, are, according to Robert McKee, best left to last in the writing process. ("As Alfred Hitchcock once remarked, 'When the screenplay has been written and the dialogue has been added, we're ready to shoot.' ") In Story, McKee puts into book form what he has been teaching screenwriters for years in his seminar on story structure, which is considered by many to be a prerequisite to the film biz. (The long list of film and television projects that McKee's students have written, directed, or produced includes Air Force One, The Deer Hunter, E.R., A Fish Called Wanda, Forrest Gump, NYPD Blue, and Sleepless in Seattle.) Legions of writers flock to Hollywood in search of easy money, calculating the best way to get rich quick. This book is not for them. McKee is passionate about the art of screenwriting. "No one needs yet another recipe book on how to reheat Hollywood leftovers," he writes. "We need a rediscovery of the underlying tenets of our art, the guiding principles that liberate talent." Story is a true path to just such a rediscovery. In it, McKee offers so much sound advice, drawing from sources as wide ranging as Aristotle and Casablanca, Stanislavski and Chinatown, that it is impossible not to come away feeling immeasurably better equipped to write a screenplay and infinitely more inspired to write a brilliant one.--Jane Steinberg
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The First Five Pages: A Writer's Guide to Staying Out of the Rejection Pile by Noah Lukeman
Amazon.com Review
The difference between The First Five Pages and most books on writing is that the others are written by teachers and writers. This one comes from a literary agent--one whose clients include Pulitzer Prize nominees, New York Times bestselling authors, Pushcart Prize recipients, and American Book Award winners. Noah Lukeman is not trying to impart the finer points of writing well. He wants to teach you "how to identify and avoid bad writing," so that your manuscript doesn't come boomeranging back to you in that self-addressed, stamped envelope. Surprise: Agents and editors don't read manuscripts for fun; they are looking for reasons to reject them. Lukeman has arranged his book "in the order of what I look for when trying to dismiss a manuscript," starting with presentation and concluding with pacing and progression. Each chapter addresses a pitfall of poor writing--overabundance of adjectives and adverbs, tedious or unrealistic dialogue, and lack of subtlety to name just a few--by identifying the problem, presenting solutions, giving examples (one wishes these weren't quite so obvious), and offering writing exercises. It's a little bizarre to think about approaching your work as would an agent, but if you are serious about getting published, you may as well get used to it. Plus, Lukeman has plenty of solid advice worth listening to. Particularly fine are his exercises for removing and spicing up modifiers and his remedies for all kinds of faulty dialogue. --Jane Steinberg
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Between the Lines: Master the Subtle Elements of Fiction Writing by Jessica Page Morrell
Effective storytelling stems from many elements, the most crucial of which are unseen or blended in so unobtrusively that they are difficult to spot and analyze. Still, they are necessary to the wholeness and coherence of a story—to create a work that lingers and resonates in the reader’s imagination.
In Between the Lines, author and writing instructor Jessica Page Morrell shows you how to craft a unified and layered novel or short story by mastering subtle storytelling techniques, such as:
· Using emotional bombshells, surprises, and interruptions to intensify cliffhangers
· Enlarging your story world through the use of layered subplots
· Building suspense one scene at a time to maximize the emotional payoff
· Anchoring your premise to your protagonist’s character arc
· Transitioning into and out of flashbacks without interrupting the mood of your story
Detailed instruction combined with examples from well-known authors turn seemingly complex topics like subtext, revelations, misdirection, and balance into comprehensible techniques that will elevate your writing to the next level.
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Self-Editing for Fiction Writers: How to Edit Yourself into Print by Renni Browne & Dave King
Amazon.com Review
There's not much of the old-style editing going on at publishing houses today. Renni Browne, veteran of William Morrow and other publishers, founded the Editorial Department in 1980 to teach fiction writers the techniques professional editors (many of whom have gone independent) use to prepare a manuscript for publication. In this book, she and senior editor Dave King share their accumulated expertise in a series of brilliantly compact lessons. One page from their simply and markedly improved version of a scene from The Great Gatsby alone would make a compelling advertisement for their techniques. Very highly recommended. --MTB --This text refers to an out of print or unavailable edition of this title.
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Plotting & Writing Suspense Fiction by Patricia Highsmith
Amazon.com Review
Suspense, like other genre fiction, is often assumed to be inferior in quality to more "serious" fiction. A suspense story can be every bit as well-wrought as any other, argues Patricia Highsmith in Plotting and Writing Suspense Fiction. To show how, Highsmith focuses as much on her failures as on her successes. Amid discussions about growing ideas, story development, plotting, first and second drafts, and revisions are anecdotes from Highsmith's own career. Highsmith (Strangers on a Train) admits to editing with crayon (doing so "gives one the proper cavalier attitude"), napping on the job (it helps solve problems), and having written one "really dull" book. Though this book is slim, there are some lovely thoughts on such issues as creating a murderer-hero with "pleasant qualities," "stretch[ing] the reader's credulity," and using "as much care in depicting the face and appearance of ... main characters" as a painter would with a portrait. --Jane Steinberg
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Plot & Structure: Techniques & Exercises for Crafting a Plot that Grips Readers from Start to Finish
Plot & Structure offers clear and concise information on creating a believable and engaging plot that readers can't resist. Written by award-winning thriller and suspense author James Scott Bell, this handy instruction guide provides:
* Easy-to-understand techniques on every aspect of plotting and structure, from brainstorming story ideas to building scenes, and from using subplots to crafting knock-out endings
* Engaging exercises, perfect for writers at any level and at any stage in their novel
* Practical and encouraging guidance from one of the most respected writers publishing today
Full of diagrams, plot brainstormers, and examples from popular novels, mastering plot and structure has never been so simple.
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Grammar & Style
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Sin & Syntax: How to Craft Wickedly Effective Prose by Constance Hale
Amazon.com Review
You gotta love a grammar guide that calls verbs "moody little suckers" and adverbs "promiscuous." Constance Hale (Wired Style) relishes prose that is deliberate, beautiful, and bold. Go ahead and break the rules, she says; just know the rules first, and know why you are breaking them. In Sin & Syntax, Hale examines the elements of grammar from four angles: the "bones" (the grammar lesson), the "flesh" (the writing lesson), "cardinal sins" (what she calls "true transgressions"), and "carnal pleasures" (the beauty that results from either "hew[ing] exquisitely to the underlying codes of language," or not).
For illustration, Hale hails Walt Whitman and Roger Angell, and rails upon Alexander Haig and the Gump's catalogue. She hauls in Joan Didion to make a case for writing in the first person, Mark Twain to promote the killing of adjectives, C.S. Lewis to advocate showing rather than telling, and Loudon Wainwright III to lament the abuse of the word like. But Hale has no problem making her own points. "Euphemisms," she says, "are for wimps." She dismisses a particularly heinous example of scholarly prose as "a bunch of big words thrown into an Osterizer." Even other grammarians don't escape her derision: "Get a grip," Hale says. "Hopefully as a sentence adverb is here to stay." But what distinguishes Sin and Syntax most is its enthusiasm for prose that takes risks. "Even if you have to check with a lawyer," says Hale, "isn't a kick-ass piece of writing worth the effort?" --Jane Steinberg
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Words Fail Me: What Everyone Who Writes Should Know about Writing by Patricia T. O'Conner
Amazon.com Review
Patricia T. O'Conner's Words Fail Me is written in the same lighthearted tone as her snappy grammar guide, Woe Is I. This time out, O'Conner tackles the writer's art. "Good writing," she says, "is writing that works." This book is the perfect text for the novice writer who tends to gravitate toward comedic instructors. "Crummy spelling," says O'Conner, "is more noticeable than crummy anything else." Organizing your material "may be a pain in the butt, but it's thankless, too!" "Write as though you were addressing someone whose opinion you value, even if the reader is ... a stingy insurance company that won't pay for your tummy tuck." O'Conner's material isn't new--like many such books, Words Fail Me advocates the use of small words, fresh verbs, and only well-chosen modifiers--but rarely is a primer so amusing. And the clever titles strewn throughout--"Taking Leave of Your Tenses," "The It Parade"--provide added pleasure, particularly for anyone who knows how hard it can be to put a headline on a piece of writing. --Jane Steinberg
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The Elements of Style Illustrated by William Strunk Jr. & E.B. White
The only style manual ever to appear on bestseller lists has explained to millions of readers the basic principles of plain English. The book’s mantra—make every word tell—is still on point. Whether seventeen or seventy, this much-loved classic, now in its fourth edition, will forever be the go-to guide when in need of a hint on how to make a turn of phrase clearer, or a reminder on how to enliven prose with the active voice. Kalman’s exquisite illustrations give the revered work a jolt of new energy, making the learning experience more colorful and clear. The Elements of Style Illustrated will come to be known as the definitive, must-have edition.
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Woe Is I: The Grammarphobe's Guide to Better English in Plain English by Patricia T. O'Conner
Amazon.com Review
Written by Patricia T. O'Conner, an editor at the New York Times Book Review, Woe Is I gives lighthearted, witty instruction on the subject most of us dreaded in school--grammar. Discussion is brief and concise, and much more engaging than the grammar books you may remember. With chapter titles such as "Woe is I: Therapy for Pronoun Anxiety," "Your Truly: The Possessive and the Possessed," "Verbal Abuse: Words on the Endangered List," "Comma Sutra; The Joy of Punctuation," and "Death Sentence: Do Cliches Deserve to Die?," O'Conner proves that even grammar can make for entertaining reading.
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Reading & Writing
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13 Ways of Looking at the Novel by Jane Smiley
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Reading Like a Writer: A Guide for People who Love Books and for Those Who Want to Write Them by Fra
From Publishers Weekly
Starred Review. The trick to writing, Prose writes, is reading—carefully, deliberately and slowly. While this might seem like a no-brainer, Prose (Blue Angel; A Changed Man) masterfully meditates on how quality reading informs great writing, which will warm the cold, jaded hearts of even the most frustrated, unappreciated and unpublished writers. Chapters treat the nuts and bolts of writing (words, sentences, paragraphs) as well as issues of craft (narration, character, dialogue), all of which Prose discusses using story or novel excerpts. This is where the book truly shines; Prose is remarkably egalitarian in choosing exemplars of fiction: David Gates, Denis Johnson, John le Carré and ZZ Packer, for instance, are considered as seriously as Chekhov, Melville, Flaubert or Babel. Prose insists that "literature not only breaks the rules, but makes us realize that there are none," and urges writers to re-read the classics (Chekhov, especially) and view "reading as something that might move or delight you." Prose's guide to reading and writing belongs on every writer's bookshelf alongside E.M. Forster's Aspects of the Novel. (Aug.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
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Magazines for Writers
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The Writer
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Writer's Digest
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Poets & Writers
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