100 books like The Elements of Style

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… show more.

Yes, the same Stephen King: Carrie, The Shining, Misery, and dozens more. Fiction? Yes–his memoir is among the best books for writing nonfiction, not the best of nonfiction books.

Writers of every genre suffer the same troubles, like doubt, rejections, not enough days when the work “flows”, procrastination, alcohol, and drug abuse, having to bow and beg (until your success reverses the tables), and so on. In On Writing, Mr. King gives us his story: "the good, the bad, and the ugly", of writing. 

Start with chapter 25 of “CV”, right to the meat of King’s memoir. Be sure you read his “Tool Box” for writing. From the “fundamentals” (e.g., read and write a lot, vocabulary, sentences, paragraphs) to the “craft” (e.g., subject, story-telling; clarity {again !}; people, personalities, and characters).  

Enjoy!

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 coined the maxim far and away the most quoted in Hollywood to this day: “Nobody knows anything.” I first read it the year before I broke in. My copy is heavily annotated with yellow highlighter and red pen; a black paperclip still marks the second of Goldman’s two capitalized maxims, “Screenplays are structure.” The value of this book to anyone wanting to understand – or survive in – Hollywood is that, ironically, Goldman, one of the most successful screenwriters and novelists in Hollywood history, knew almost everything, not only about screenwriting, but also the psychology, cautious care, and perilous feeding of actors, directors, executives, and the rest of the Hollywood zoo. It’s both a textbook and survival guide, illustrated with a veteran’s vivid stories about life behind the tinsel.

I love Ted Chiang’s short stories. Chiang’s background is in computer science, and he’s drawn to questions concerning the relationship between language, technology, cognition, and the physical universe. 

His stories are fascinating thought experiments: They depict how a change in the medium or format of language transforms meaning and opens new possibilities for what language can be and do, what humans can think and know, and what it means to be a thinking, speaking human against the backdrop of a vast, infinitely complex universe. His stories are often backed by years of detailed research.

When I read Chiang, I find myself entangled in a strong emotional bond with his characters even as I ruminate on larger questions about what it means to be a language-using human. 

“Are we alone?” An age-old question that we may never answer. Andrew May walks us through the scientific study of whether there might be life elsewhere in the universe, and how we might identify it. And by “scientific study,” I mean actual scientific investigations, not wishy-washy sci-fi fluff. The book is both inspiring and terrifying, because the immense distances in space and time make you realize that intelligent life is both incredibly insignificant and incredibly precious.

Sand (yes, that grainy stuff at the beach that never fully gets out of your shoes) is a ubiquitous feature of dream-vacations, and yet is a really obscure topic to study. Michael Welland managed to present a fascinating and thought-provoking story of where sand comes from and where it goes. But this book isn’t only about sand; it is about the unimaginable timescales of geology and how a countless number of tiny grains can fill nearly 400,000 miles of beaches, not to mention deserts, ocean floors, and volcanos. Welland’s writing style is poetic and flowing, and overall a joy to read.

Igor Stravinsky was one of the most influential and innovative music composers of the 20th century. He was also remarkably intelligent, humorous, and insightful. This book is a collection of interviews, letters, and notes made by and about Stravinsky. Some of these writings would interest only classical music enthusiasts, but much of the book comprises witty observations of human nature, art, and what it really means to praise or critique someone.

This book is a revelation! The author (1907-1977) was a scientist (a naturalist, anthropologist, and paleontologist), and, boy, could he write. The title refers to the arc of time on this planet. There are chapters that describe and ponder fossils, evolution, so-called missing links, “the great deeps,” and so forth in the most captivating, poetic language. But the chapter to read is “How Flowers Changed the World.” I consider it the most important and insightful essay ever written on the dramatic arrival of angiosperms (flowering plants)—because he takes into account all context, and because he marvels. As we should.

Syd Field is revered as the original master of screenplay story structure, and this guide continues to be the industry's gold standard for learning the foundations of screenwriting. Even if you’re not writing a screenplay, read this book.

I have learned over the years that the principles of three-act structure can be recognised in, or applied to, almost every form of storytelling, whether you are making a film; telling a joke; designing a firework display; writing a novel, a play, a song; performing a magic act or making a speech. No one explains 3-act structure more clearly than Syd Field. He doesn’t offer it as a failsafe formula, but I have found his paradigm invaluable as both a writer and a teacher, especially for identifying narrative flaws in a story that is not working. (Usually mine).