100 books like The Writer's Journey

Journeys are most often linear – Here to There – or circular – "There and Back Again." The Odyssey is actually a return leg in the most traumatic and perennial circular journey: going to war, and then, getting back. "Wily" (in modern terms, read, "sneaky," "trickster")  Odysseus left Troy a famous warrior, but takes seven years to get home. The fabulous episodes of that journey, the Cyclops, the Sirens, Scylla and Charybdis, Circe, and Calypso, the wreck in Phaeacia that leaves him bereft even of clothes, have grounded the Western imagination. But the concluding little things – the recognition scenes, the dog that dies, and the nurse who doesn't – push that epic past into a close, human Now.

When I first heard about The Artist’s Way, I doubted that this was a book for me. Was I wrong! Over the next year, I met monthly with a visual artist to process each chapter. We discussed prompts, our artist date, or what we wrote from the suggested journaling. The invitations at the end of each chapter led me to work that fed my spirit. Transforming theory into action exercised my creative muscles. The variety of creative engagements encouraged a rich body of work and a new confidence, while the book’s quotes introduced me to other thinkers. Artist’s-Way work not only strengthened my words on the page, but my nonprofit and library work flourished as well. I credit The Artist’s Way for pushing my work into award-winning territory.

This will be one of my more controversial picks – there are plenty of people who disagree with Campbell as a folklorist, a mythographer, and with his depiction of the Hero’s Journey. But, what is important about Campbell is his exploration of why the elements that appear in stories have the impact they do on our psyche, and how they fit together. One may not agree with all of Campbell’s conclusions, but I don’t think there’s a writer out there who won’t benefit from his exploration of the subject. I know I did.

This book is a mix of memoir and advice, taking you inside the life, mind, and writing processes of one of the most successful fiction writers of our time. It’s an oldie-but-a-goodie, having come out in 2000, but the advice on craft is timeless.

Much like Everybody Writes, this book also serves as a great case study in making your writing distinctive and leaning into your lived experiences when you write. Admittedly, I’m not a big fan of the horror genre, but I’d wager that this quick read is almost as compelling and thrilling as many of his other works. 

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 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.

When I was young, I had a terrible problem. I hated reading. Apparently, I needed glasses but never knew it. I would lay my head down on books (the only way I could get my eyes to move to the next line) and eventually get in trouble for laying down. It became a punishment and a chore. That is, until a copy of The Hobbit was placed in my hand.

I blazed through the magical adventure of the unknowing Bilbo Baggins and his zany companions. I couldn’t put it down. And for the first time ever, my brain and heart were ignited by the magic of books! The Hobbit will forever hold a place in my heart as the book that started me on this unexpected journey.

This book is the best book in helping you to discover that you never really have to go on an outward journey or to look to others for the answers to find what is inside you all along. They are always within.

However, it’s the characters and journey along the way that usually guide us to discover what those weaknesses and strengths are. It’s a story of friendship, adventure, hope, and home (and the answers) are ultimately where the heart is. I love stories that give the readers hope; the rainbow is the symbolism of hope. There is a rainbow at the end of a storm. Never give up. 

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. 

This book is different. After a slew of books all pedaling the same material based on the dreaded Hollywood formula, it was really good to find something that bucked the trend. 

Truby focuses on morality in stories. He maintains that every story is actually a moral argument, and gives his practical steps for harnessing that morality and using it to create a strong story. 

I feel there is a lot to be said for this. The only real flaw is that there are actually twelve sensible bases for a story and although the moral argument is undeniably one of those that generates a strong story, it is important for writers to understand all of them.