100 books like A Handlist of Rhetorical Terms

The 250-odd words of the Gettysburg Address are some of the most stirring ever spoken.

Garry Wills’s classic study of how Lincoln came to make that speech is a wonderfully rich investigation of their historical context and literary influences, right back to Pericles’s funeral oration. Wills argues that Lincoln’s speech changed America, and changed the way speeches themselves would come to be made.

It shows how so much can go into so apparently little – and what a difference that can make.  

Aristotle is the OG: the first person to think seriously about how persuading other people with words might be a craft that can be practised, learned, and taught.

He was the first to identify the three ways you convince someone – ethos (the speaker’s connection with the audience), pathos (emotion), and logos (the argument itself) – and did so two and a half thousand years ago. I find that just thrilling. 

Philip Collins was a speechwriter in Tony Blair’s New Labour government in the UK, and in this book he looks at 25 great speeches through history and picks them apart to show what they were trying to do and how they did it.

It’s very approachable, and full of insider knowledge, anecdotal nuggets, and a craftsman’s insight into speechwriting tricks – as well as mounting a firm and impassioned case for the importance of rhetoric to democracy itself. The jokes are good, too. “Barack Obama may be the best male speaker in living memory,” Collins writes, “and the second-best speaker in his own family.” 

This 1644 book is one of the most charmingly mad documents in the history of rhetoric.

Bulwer thought (rightly) that rhetoric wasn’t just about words: body-language matters, too. So he attempted to catalogue the meaning of hand gestures, which he believed were a universal language, and to explain how best they might be used in oratory.

You discover, if you read Bulwer, that we’ve been blowing kisses and flipping the bird since the seventeenth century; and that clapping your hands as you talk is “a gesture too plebeian and theatrically light for the hands of any prudent rhetorician”. Better yet, the book Is abundantly illustrated with woodcuts.

It’s a tragedy that Bulwer died before producing the planned sequel, Cephalelogia…Cephalenomia, on gestures of the head. 

Just as King is a master of fiction, the late, great John McPhee is a nonfiction master. He gained fame as staff writer for The New Yorker, then authored dozens of books on such diverse subjects as fishing, geology, and transportation. (Trust me: His fascinating novel-like prose is more engaging, enlightening, and enrapturing than those topics imply.) In 1999, he finally won a well-deserved General Nonfiction Pulitzer on his fourth try. In this treatise on writing well, McPhee offers insight into his craft, including diagrams of story structure he shared with journalism students at Princeton. The book appeals to my logical side; in my book I say I see writing as like building with Legos, putting together one colorful block at a time to eventually form a 7,541-piece Millennium Falcon. 

I read this book when it came out in 1985, as I was polishing my first book. I recommended it to a senior colleague who had written several books and edited a leading journal. He took it with him to some beach on winter vacation as he was completing his next book. When he returned, he said he was so engrossed in the book that his wife got mad at him for not putting it down. He loved it as much as I did.

If you have mastered this book, your writing will improve dramatically, and you will not need another style manual for the rest of your life. 

This book is old, like early 1900s. It was first drafted by William Strunk, Jr., who distributed a version to his students at Columbia University in 1919. E.B. White (author of Charlotte’s Web) modernized it in the ’50s. It went on to sell millions of copies and become one of the most influential guides to English. Why the history lesson? Because it’s remarkable how relevant it remains in 2022. It can feel dusty and literary, but it offers nuggets of wisdom like “omit needless words” that influence writers like me today. I shamelessly ripped off the concept of “elements” for my book. The “little book” is short—the fourth edition is 42 pages—but mighty. It deserves a spot on your physical or virtual bookshelf.    

Mignon is one of my writing idols, so this is rightfully one of my writing bibles.

No one’s better than Mignon—best known as “Grammar Girl” on her podcasts and in her books—at separating fact from fiction when it comes to grammar. She also has an extremely friendly, supportive style that builds trust right away, like getting advice from your neighbor (who happens to be omniscient about language and word usage).

I felt this myself as one of Mignon’s guests on her very popular podcast. Quick and Dirty Tips is like having Mignon’s skill and insight on call, and that’s an amazing and invaluable resource for any writer. 

This writing instruction book came to my aid as I began to teach writing at Harvard University in the late 1990s, when I was trying to help college students cultivate their own voice as writers.

The title was brilliant, surprising the reader that the subject was revision and not writing, per se. This focused on a fundamental truth, which is that good writing – whether it be fiction or non-fiction, artistic or professional – almost always goes through several revisions. Students often recoil at the idea of revisions because they threaten to burden them with more work.

What Murray underlined (and a point I’ve reiterated) is that revisions provide the opportunity to improve your work. The more that writers are comfortable with making revisions, the easier it will be to cultivate and improve their voices in their written work.

Writing professor Gabriele Rico knows how to take the fear out of writing, which is why this book became such a powerful best-seller and why I love to read and recommend it. Among the many strategies and techniques she offers in Writing the Natural Way, one of my favorites is her brainstorming strategy called clustering, which gives us permission to wander and bypass the critical censorship we are often hindered by. In turn, this fuels creativity and prompts us to make associations among ideas, memories, and feelings that are otherwise seemingly diverse or disorganized. She also firmly believes that, although writing can be a painful process, it’s not what hurts us that matters but rather it’s how we deal with the pain, and it’s through an honest expression of our truth that we can grow and heal.