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

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 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.

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.

This book teaches the secrets of storytelling and story structure from a popular screenplay perspective. When I start a new novel, this is the first book I reach for every time. It teaches how to keep your story engaging to readers and how to best structure the overall plot so your story flows beautifully throughout and ends with satisfaction.

This is an excellent textbook to get readers and comic makers of all experience levels to loosen up, think deeply and personally, and make better, more confident comics. It’s warm but practical, smart but approachable, deep but unpretentious. This is a comics veteran generously sharing both her knowledge of comics and teaching, as well as her own methods for drawing, brainstorming, and writing. It’s an incredible resource and one I often find myself quoting and recommending to my own students. 

Now in its tenth edition, this book is for committed writers only. A highly valuable textbook on the writing process, Burroway covers story form, plot, structure, building character, place, and setting, and takes a detailed look at point of view. Each section comes with examples of how things do and do not work, as well as providing a list of suggested readings and writing prompts for further study. This book is a master class in creative writing that also calls on us to renew our love of storytelling and to celebrate the skill of writing well.

Master teacher David Mura’s A Stranger's Journey addresses long-overlooked issues of race and identity in publishing and in the standard teaching of creative writing and he brilliantly advocates for a more inclusive and expansive definition of writing craft. Though this book is partly aimed at educators, he offers incredibly useful craft lessons as well, primarily through his deft analysis of work done by writers ranging from James Baldwin to Mary Karr to ZZ Packer. In a world that no longer accepts the notion that our greatest authors have to be “dead white men,” Mura offers a necessary window into the intersection of race, literature, and culture.