Here are 100 books that The Anatomy of Story fans have personally recommended if you like
The Anatomy of Story.
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I have been enthralled with the idea of “dreams come true” for as long as I can remember. In middle school, I discovered the field of psychology. I made weekly trips to the library and read books on personal development, spirituality, and memoirs. This commitment to learning and growth has never wavered. Those early seeds that I planted and nurtured have bloomed into my long-standing career of professional coaching, facilitation, and leading transformational retreats. My passion is empowering others to believe in their dreams and goals and bring them to life.
This is another book that I consider a classic and, for years, has held a place of honor on my bookshelf. I go back to it from time to time. It's like visiting a wise friend who inspires you to be the most self-expressed you can be. Julia is a great guide, and I enjoy the author's writing style, which is easy to read and relate to. As a prolific author of dozens of books, she is intelligent and generous, and she encourages readers to go deeper and wider in their creative lives. She leads the reader through a twelve-week program in the book to unleash one's creative genius.
Her signature "field work" for readers is an exercise called "morning pages," a practice of writing down your unedited thoughts each morning to clear out the old thoughts and make space for new perspectives and ideas to come forth. I have…
The Artist's Way provides a twelve-week course that guides you through the process of recovering your creative self. It aims to dispel the 'I'm not talented enough' conditioning that holds many people back and helps you to unleash your own inner artist. Its step-by-step approach enables you to transform your life, overcome any artistic blocks you may suffer from, including limiting beliefs, fear, sabotage, jealousy and guilt, and replace them with self confidence and productivity. It helps demystify the creative process by making it a part of your daily life. Whatever your artistic leanings, this book will give you the…
One reason I became a professor of humanities, teaching subjects like film, theater, and literature, was to share my enthusiasm for the great works of imagination which have inspired people for centuries. Stories shape our lives and pass on our most important values and beliefs to future generations. In my academic career, I have directed plays and have written two novels, but teaching film has been my major passion for the last several years.
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.
Originally an influential memo Vogler wrote for Walt Disney Animation executives regarding The Lion King, The Writer’s Journey details a twelve-stage, myth-inspired method that has galvanized Hollywood’s treatment of cinematic storytelling. A format that once seldom deviated beyond a traditional three-act blueprint, Vogler’s comprehensive theory of story structure and character development has met with universal acclaim, and is detailed herein using examples from myths, fairy tales, and classic movies. This book has changed the face of screenwriting worldwide over the last 25 years, and continues to do so.
I was lucky enough not only to get published in my thirties, I also got a film deal for those first two books. I was flown to Hollywood and it was all very grand. However, what they did to my stories in translating them into film scripts horrified me. And ruined them. And the films never got made. I started to look deeper into what ‘experts’ did, and it was awful. I became obsessed with how stories work, developed my own ‘knowledge gap’ theory, proved it through my Ph.D. research, and became a story consultant in the industry. Story theory has completely taken over my life and I love it!
This was the first story theory book I read and it was hugely influential on me, because it is probably the definitive work in terms of a formulaic, structural approach to story.
This book gave me a depth of knowledge of the traditional approach to story theory, but also a clear understanding of how people in the film industry are going about their work today. It is all wrong, in my opinion, but it is also the truth of what is going on.
It is wrong because a story does not begin with structure. A story begins in the mind, and a structure arrives later once the story is present. This book set me on my journey to find an alternative to structure.
Structure is Character. Characters are what they do. Story events impact the characters and the characters impact events. Actions and reactions create revelation and insight, opening the door to a meaningful emotional experience for the audience. Story is what elevates a film, a novel, a play, or teleplay, transforming a good work into a great one. Movie-making in particular is a collaborative endeavour - requiring great skill and talent by the entire cast, crew and creative team - but the screenwriter is the only original artist on a film. Everyone else - the actors, directors, cameramen, production designers, editors, special…
I write the NYPD Detective Chiara Corelli Mystery series featuring Corelli and her partner Detective P.J. Parker. Most mysteries have a single main character so I’m passionate about finding other authors who write mysteries with two professional investigators as main characters. It’s fascinating to see how authors writing the same type of characters handle them and what they do about character growth over the course of the series. To me, watching two characters react to each other, seeing their relationship change over the course of a book or a series is much more interesting than reading about a single detective.
When I sat down to write my first novel I knew I wanted to model my characters on George’s Lynley and Havers but I couldn’t even start writing because I had no idea how to structure a novel, particularly a mystery. As fate would have it, George released her book on writing, Write Away, around that time. In it, she described her process with examples from her own books and it was exactly what I needed. This book provided the essential tools I needed to write.
Elizabeth George is one of the most successful writers of crime fiction in the world. Her twelve novels have appeared on bestseller lists in the UK, USA and Australia, and several of them have been dramatised by BBC Television as the Inspector Lynley Mysteries. She has also written a collection of short stories and edited a crime anthology.
Now she shares this wealth of experience with would-be novelists, and with crime fiction fans. Drawing extensively on her own work, and that of other bestselling writers including Stephen King, Harper Lee, Dennis Lehane and many others, she illustrates her points about…
I was inspired by teachers and books starting at a very early age, and even before I was ten, I knew that I wanted to become a teacher and writer. In pursuing these two passions, I set out to become the best that I could be. I read countless books on the art and craft of writing (many of them by acclaimed authors). I chose these five exceptional books in the order that I read them over years of researching/writing La Brigantessa, which ultimately won an international Gold IPPY award for Historical Fiction, and was a finalist in two national literary awards. Hope you, too, are inspired by my picks!
Barbara Kyle covers all the areas fiction writers want and need to know about the craft of writing and how to elevate your craft into art. Her book is an essential guide to creating a novel with strong and compelling characters, setting, plot, dialogue, and more.
Her insightful suggestions and advice, initially through a manuscript evaluation of my book, and later with a thorough reading of this book, was an essential part of my writing journey towards creating a “page-turner” that led to the acceptance and publication of my novel.
"Brings alive almost every tough issue a writer of fiction must confront . . . friendly and fun to read." — Albert Zuckerman, founder of Writers House literary agency
“Kyle knows her stuff. She breaks down both the art and the craft of writing in a way that is entertaining and easy to understand.” — #1 New York Times bestselling author Kelley Armstrong
ABOUT THE BOOK
What makes a page-turner? What mysterious literary essence holds a reader so hard they feel they must keep reading? And then tell friends, "I couldn't put it down!"
I was lucky enough not only to get published in my thirties, I also got a film deal for those first two books. I was flown to Hollywood and it was all very grand. However, what they did to my stories in translating them into film scripts horrified me. And ruined them. And the films never got made. I started to look deeper into what ‘experts’ did, and it was awful. I became obsessed with how stories work, developed my own ‘knowledge gap’ theory, proved it through my Ph.D. research, and became a story consultant in the industry. Story theory has completely taken over my life and I love it!
As a story consultant myself, it was incredible to have a man from 2,300 years ago talk to me about story theory! And more than that… everything he says is spot on.
The real meaning of much of what Aristotle said has been debated for millennia. However, when I used his principles as story dynamics in real stories, they became very clear to me; so, in my own work, I have distilled Aristotle’s principles into a modern three-part interpretation, and I give examples of them working in classical and popular modern stories.
Aristotle’s principles are not only applicable today, but they are still better than almost any other new thinking of the last 100 years. Aristotle is amazing. I love him!
One of the most powerful, perceptive and influential works of criticism in Western literary history
In his near-contemporary account of classical Greek tragedy, Aristotle examines the dramatic elements of plot, character, language and spectacle that combine to produce pity and fear in the audience, and asks why we derive pleasure from this apparently painful process. Taking examples from the plays of Aeschylus, Sophocles and Euripides, the Poetics introduced into literary criticism such central concepts as mimesis ('imitation'), hamartia ('error') and katharsis ('purification'). Aristotle explains how the most effective tragedies rely on complication and resolution, recognition and reversals. The Poetics has…
I was lucky enough not only to get published in my thirties, I also got a film deal for those first two books. I was flown to Hollywood and it was all very grand. However, what they did to my stories in translating them into film scripts horrified me. And ruined them. And the films never got made. I started to look deeper into what ‘experts’ did, and it was awful. I became obsessed with how stories work, developed my own ‘knowledge gap’ theory, proved it through my Ph.D. research, and became a story consultant in the industry. Story theory has completely taken over my life and I love it!
A story is not the words that you write down. That’s a narrative. A story is what your audience builds in mind for themselves when they receive the narrative.
If I give you a six-word story: For sale. Baby’s shoes. Never worn. You don’t just see an advertisement. You think about the lives of the people who placed the advertisement, right?!
What you just did in your mind is how stories work, and Roland Barthes was the first to recognise this. His book is a series of articles demonstrating the mythology that lies behind the words and symbols we are fed in everyday life.
My knowledge gap theory of how stories work owes a great deal to Roland Barthes, and this book in particular.
"No denunciation without its proper instrument of close analysis," Roland Barthes wrote in his preface to Mythologies. There is no more proper instrument of analysis of our contemporary myths than this book―one of the most significant works in French theory, and one that has transformed the way readers and philosophers view the world around them.
Our age is a triumph of codification. We own devices that bring the world to the command of our fingertips. We have access to boundless information and prodigious quantities of stuff. We decide to like or not, to believe or not, to buy or not.…
I was lucky enough not only to get published in my thirties, I also got a film deal for those first two books. I was flown to Hollywood and it was all very grand. However, what they did to my stories in translating them into film scripts horrified me. And ruined them. And the films never got made. I started to look deeper into what ‘experts’ did, and it was awful. I became obsessed with how stories work, developed my own ‘knowledge gap’ theory, proved it through my Ph.D. research, and became a story consultant in the industry. Story theory has completely taken over my life and I love it!
Bordwell is an academic who is encyclopedic on Hollywood.
He has written several definitive works on Hollywood and despite their depth and learnedness, they are very readable and enjoyable to absorb. So when he turned his attention to ‘classical’ Hollywood story telling, I knew it would be a good one, and I was not disappointed.
Most story theorists have an approach that they are arguing for. Bordwell is analysing from a pure perspective, without ‘skin in the game’, so the result is balanced, critical, and highly enlightening for the aspiring writer.
Hollywood moviemaking is one of the constants of American life, but how much has it changed since the glory days of the big studios? David Bordwell argues that the principles of visual storytelling created in the studio era are alive and well, even in today's bloated blockbusters. American filmmakers have created a durable tradition - one that we should not be ashamed to call artistic, and one that survives in both mainstream entertainment and niche-marketed indie cinema. Bordwell traces the continuity of this tradition in a wide array of films made since 1960, from romantic comedies like "Jerry Maguire" and…
I am passionate about the importance of telling stories in the classroom. My career has been as a children’s librarian in public libraries, but with much time spent telling stories in schools. My daughter and her husband followed in my footsteps as storytellers and found that using storytelling in the classroom has so many benefits. We all offer workshops for teachers, write articles encouraging storytelling, and try in any way possible to grow the corps of teachers who discover this joyful addition to the classroom.
This book contains twelve easily told tales that can be used to discuss character development. The Norfolks include suggestions for classroom use of the tales. I like to recommend this to the teachers in my storytelling classes as the advice comes from a teacher who has written several other books on using stories in the classroom.
To kids everywhere, in the hope that their elders will never stop telling stories.
Throughout history, traditional cultures have recognized the role of storytelling in teaching values to children. This user-friendly, hands-on guide to using storytelling and folktales in character education provides not only rationale for this approach, it includes stories. These twelve stories are fun, time- and audience-tested, and accessible to a wide range of listeners, from preschool to high school.
The tales are enhanced by suggested activities or informal lesson plans, source notes, and extensive bibliographies that point the reader to additional sources of folktales suitable for character…
I am passionate about the importance of telling stories in the classroom. My career has been as a children’s librarian in public libraries, but with much time spent telling stories in schools. My daughter and her husband followed in my footsteps as storytellers and found that using storytelling in the classroom has so many benefits. We all offer workshops for teachers, write articles encouraging storytelling, and try in any way possible to grow the corps of teachers who discover this joyful addition to the classroom.
I found that owning a collection of tales organized by these themes was very useful. Over 100 short folktales on themes of cooperation, courage, diversity, empathy, friendship, generosity, honesty and fairness, perseverance, respect, responsibility, self-control, and bullying prevention. Pearmain also gives suggestions for telling these and for extending them in the classroom. Wrapping an idea in a story really helps the concept sink in for the listener. Having a collection like this helped me build programs for use in the library.
This book features 99 multi-national and multi-cultural folk tales with familiar character and bullying prevention themes but encapsuled in wonderfully diverse stories. The author, a professional storyteller, provides actual stories plus chapters on how to tell a story, not just read it; activities for students; and bulliten board ideas. She also provides hints and tips for teaching kids the art of storytelling which encourages communication skills and classroom unity.
