Fans pick 15 books like Eats, Shoots & Leaves

It’s 2005, and it’s my first day at The Daily Telegraph. I still couldn’t believe they had hired me as a cadet journalist. The smile I was wearing–from ear to ear–suddenly vanished when the Chief of Staff walked over and said, ‘Phelpsy, a bus has just crashed in Egypt. We have been told that there may have been some Australian tourists on board. Punch out 500 words and give it to me in an hour.’ 

I turned to my computer screen, looked down at my keyboard, and suddenly realized that I had no idea what I was doing. I’d never had any writing training, and my experience was limited to the gibber I had been submitting to the paper (for free) for the past year in the hope of landing a job. After ten minutes of writing a word or two, deleting them, and then doing it again, I… show more.

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.    

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. 

Jewell is a gem. She published this guide for Black writers around the turn of the new century, but it’s full of valuable advice for creators of all ethnicities. An educator, Dr. Parker Rhodes is a New York Times bestselling author of children’s books that include Ghost Boys and Black Brother. Her emphasis in this tome is on motivating readers to tell their life stories vividly and to find inspiration all around them in their communities. Part literary analysis and part how-to guide, the book teaches about crafting biographies, memoirs, personal essays, and other nonfiction into publishable pieces. In my book, I advise readers to “diversify voices” when they write. Parker Rhodes’ words influenced how I think about researching and crafting my work for all types of readers. 

Believe me; I know how hard it is to write humour. To produce a successful comedic novel with laugh-out-loud lines as a debut novelist is no mean feat, but for me, Jane Ions has pulled it off with this book. 

I found the voice of Sally Forth (I know!) engaging and hilarious from the off. There was so much for me to enjoy, from the wayward teenage son living in a lean-to in the garden to Sally’s long-suffering and respectable husband, who just happens to be an MP.

I love this kind of well-observed comedy that treats its characters, no matter how misguided, with kindness and compassion. 

Oh, boy! I came upon this book while seeking the answer to a basic style question, and, wow, am I glad I did. Dreyer, copy chief of Random House, knows his stuff and can help you learn yours, too, from word usage to punctuation. The book’s way more than that, though. You’ll feel like you’ve taken a lively college class in writing and wish you could have coffee with the professor. I’ve bought copies for several word-nerd friends — it’s humorous, too. 

This is such a different kind of book, and genuinely, one that really should be very boring; how much is there to say about a punctuation mark? But instead, it’s totally winning. The story of the semi-colon, and that of the authors who loved (and hated) it, is a delightful romp through history and literature.

Watson herself is a “reformed grammar fetishist” and approaches her topic with real curiosity while she probes our collective obsession with grammar.

This book is now more than a century old and has sold countless millions in numerous editions.

In my book about writing books I argue that this brief volume is not one book at all, but two books. Each part offers a different, some might say a contradictory view of what we mean when we talk about a writer’s “style.”

The original handbook was written by William Strunk Jr., a professor at Cornell, in 1918.  E.B. White was one of his students. Strunk preached consistency in grammar, usage, brevity, and rhetorical techniques. If you wanted to be a good writer, you had to adhere to his style book.

White rediscovered the book in the 1950s, and published an additional set of guidelines. For White, style is what sets an individual writer apart from others, the effect of a combination of good writing moves.

It is cheap. It is popular. It… show more.

I connected with the author on LinkedIn and fell in love with the grammar tips she would post. Then I discovered her book on proofreading tips and had to grab my copy. Every single page had me grinning and bobbing my head. I love how she can turn a grammar rule into something fun and memorable. Whether you’re a writer, editor, proofreader, or even publisher, I would recommend adding this fantastic read to your collection.

I connected strongly to this book because the protagonist has experienced abandonment and must rebuild her life from the ashes, learning to trust adults to care for her and allow her a childhood rather than expecting her to be a miniature adult. Equally striking is the power of a secret, and how its revelation changes everything. In addition, through reading If You Find Me, I learned a way of using punctuation that creates tension and immediacy.