Fans pick 97 books like Self-Editing for Fiction Writers

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.    

This popular text on screenwriting relates films to narrative ideas found in ancient myths around the world.

Vogler does an excellent job in demonstrating how films often use elements of plot and character that have proven to be universal characteristics of stories for centuries. He applies these concepts not only to fantasy films but standard Hollywood dramas such as Titanic. 

This book will keep a writer from chasing his or her own tail. The last thing a novelist wants a reader to do is start skimming. Instead of getting bogged down in muddy story development, learn how to create a clear, engaging arc for both plot and characters. Filled with practical examples gleaned from film and bookshelf, this book can save your story and make it pop.   

No writer’s library is complete without a shelf (that’s right – shelf) dedicated to grammar books. Breaking the rules is allowed, but only by design and for a reason, not due to ignorance. This is my favorite grammar book because it’s witty. Medicine tastes better with a few drops of honey. The important rules are explained with great examples. Learn how to put verbs in their place, find help for pronoun anxiety, and experience the joy of punctuation. What could be more fun than that?!

Dickinson isn’t always Gothic, but many of her best and best-known poems revolve around that central Gothic question: what is it like to be dead?

Poems beginning with lines like “I heard a Fly buzz—when I died,” “Because I could not stop for Death,” “If I may have it, when it’s Dead,” and “I felt a Funeral, in my Brain” play along the boundary between the living and the dead and ask uncomfortable questions about the afterlife, such as whether there is one.

It’s surely no coincidence that her creative peak coincided with the Civil War. But what makes Dickinson so compelling, for me at least, is her unique vocabulary, which suggests fears and other (sometimes ecstatic) emotions that no one else has managed to describe. Her poems are full of surprise and mystery.

This edition reproduces Dickinson’s own collections of her poems—“fascicles” or homemade books—giving… show more.

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.

Though often overlooked in Bradbury’s canon of masterpieces, The October Country is such a fantastic treat. I recommend it every chance I get and often quote his descriptions of Autumn. “It was September. In the last days when things are getting sad for no reason.” I mean…right?? How heartbreakingly beautiful is that?

The book comes together as a collection of short stories that take place in a world of perpetual autumn, where trees drop their fiery leaves one by one, lakes become still, and darkness creeps in earlier each day.

I swear, if I could wrap myself in a cocoon of this feeling, I’d be a happy camper. Plus, touches of the supernatural? Yes. All day. Count me in. Forever and ever. Amen.

I loved this book so much – and found it so incredibly useful in manuscript revisions — that I ran to my laptop and sent the author a fan letter. If you need help wrestling your manuscript into shape or inspiration to keep improving a story, immediately grab this book — and lots of sticky flags to mark pages. The author, with a ton of developmental editing experience, writes with a friendly style and an affection for storytelling. She explains how to find problems in your manuscript and how to fix them. It’s great for fiction or nonfiction—I’m using it now for revisions on a novel.

Writers often struggle to think of themselves as “writers” because the world has us believing that we can only carry that title if we are successfully published, and of course words such as “success” and even “published” can be fraught with subjective controversy. One of the lessons I learned from Brenda Ueland, among other great thinkers, is that we need to focus first on our own authenticity and only much, much later dare we think about what the world might have to say. This allowed me to let go and move on and trust myself on my writing path. It wasn’t easy, but as emphasized in If You Want to Write, we will be all right if we believe in our inner richness.  

I love this novel because of its ravishingly beautiful prose and deep insights into sexual selfhood. Set one day in June 1923, this book takes us into the mind of its middle-aged heroine, Clarissa Dalloway, as she prepares to host a party and reminisces about her life three decades ago.

As a teenager, she loved a daring, aristocratic woman (Sally), a passionate but troubled man (Peter), and a comparatively boring but dependable man (Richard, to whom she has long been married). What did love mean to her thirty years ago, and what does it mean now? Did she make the right romantic choice, given the constraints of her society? Virginia Woolf leaves her readers space to ponder these questions for themselves.