100 books like Writing the Novel from Plot to Print to Pixel

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 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.

Rejection is a big part of the writer’s life (less so now that self-publishing has taken off, but it still rears its ugly head more times than you might expect).

Actors know all about rejection and the late Charles Grodin had more than his share. While this is technically a memoir, it’s also a handbook on how to deal with and process all the forms of rejection you might encounter on your journey. As an additional incentive to read it, please know that Charles Grodin is a terrific writer and a funny, funny man. You’ll learn while you laugh.

Why this book? Two words: Aaron Sorkin. This book collects six of his teleplays, but I think you could get just as much by watching the first four seasons of “The West Wing.” Osmosis, do your thing!

Dialogue, character development, how to get into a scene, how to get out of a scene, juxtaposition … it’s all there, and more in Sorkin’s writing. This book contains some of my favorite episodes (although it doesn’t have my favorite, “Noel”), and some of his best speeches. In particular, Bartlett’s rant in “Two Cathedrals” and Toby’s frustration in “17 People” (“I will bet you all the money in my pockets against all the money in your pockets…”) Sorkin’s mantra (intention and obstacle) is probably the shortest and best advice you can get about how to keep characters alive in a scene. Read this book (and watch the show) to see that mantra… show more.

No Other Life combines three of Gary Young’s books into one volume. There is such unique style and quiet beauty to Young’s work. I am truly inspired by it. He has a knack for capturing the extraordinary in the mundane in brief but deep prose poems that grip the soul. 

Young was one of my professors in college and was a driving force for why I pursued a creative writing degree and chose to continue to write after graduating. His work will always hold a special place in my nature-loving creative heart.

As with Madeleine L’Engle, everything I’ve read by Ursula K. Le Guin—fiction as well as nonfiction—has radically influenced my writing and my teaching of writing. In fact, her impact on my creative awakening was so profound that I sent her a copy of my first book as a thank you! Steering the Craft is filled with wisdom and exercises for both new and seasoned writers, but perhaps the most liberating for blocked writers is her controversial view that “story” is defined by “change” not “conflict.” That’s especially welcoming for writers who feel hemmed in (and, perhaps, blocked) by the traditional definition.

This title is unique among books on writing in that Prose devotes a full chapter to eight critical elements of writing: words, sentences, paragraphs, narration, character, dialog, details, and gesture. For example, she explores concepts such as first sentences and their impact on the narrative. Prose suggests that “close reading” is the key to understanding and learning about literature, for the reader and writer. She takes her readers on a guided tour of the tools and the tricks of the masters―Dostoyevsky, Flaubert, Kafka, Austen, Dickens, Woolf, Chekhov―and discusses why these writers have endured. Throughout, she cautions readers to slow down and pay attention to words, the raw material out of which literature is crafted. One of the most important books on writing I have ever read.

I can never read too many books about how to structure the overall plot of a novel because I’m a by-the-book plotter. K.M. Weiland brilliantly explains in a down-to-earth way how to make your story work so you are never confused about which plot points should go where in your story, no matter if you plot to the nth degree or like to see where the story takes you with minimal planning.

No one can deny that Patricia Highsmith knew how to create suspense. Alfred Hitchcock saw that Strangers on a Train was the ideal spine-tingler for a great movie. Other directors have found the Ripley series perfect nail-biting stories to work with. Highsmith takes us through the process of building suspense from the germ of an idea through the plotting, the drafts, and the revisions, using examples from her own work, short stories, and novels. I’m not surprised this book has stayed in print for over fifty years. I still dip into it and get inspired.

I picked up this book as the title sounded interesting, but it sat on my bookshelves for over five years before I delved into it. Since then, it’s become one of my favourite guides to writing. It’s described as ‘probably the most unusual guidebook for creative writing in the world.’ It’s full of insights such as ‘grammar is a mapping of the human soul,’ or ‘the social word… is serious play.’ The play takes place in a field with the four ‘great human virtues’ at its corners: beauty, good will, truth, and openness. It’s a ‘sourcebook of spells’ that have the power to ‘carry you into that place of the heart from which true language comes.’