The Center for Fiction, founded in 1820 as the Mercantile Library, is the only organization in the United States devoted solely to the vital art of fiction. Their mission is to encourage people to read and value fiction and to support and celebrate its creation and enjoyment. Their resources include an exceptional book collection, a beautiful reading room, an expanding website, and a growing array of creative programs that serve both readers and writers . They offer the following list of “Essential Books for Writers” with the caveat that what works for one writer may not work for the next. Check back as they continue to add books to the list and explore additional tools for writers on their website.
On Writing by Stephen King
Leave it to the literary rock star to compose a craft book that’s as entertaining as a good novel. “This is a short book because most books about writing are filled with bullshit,” Stephen King writes. What follows is a witty, practical, and sometimes poignant guide that is refreshingly devoid of the aforementioned BS. King relates his personal story of becoming a writer, then offers a “toolkit” of clear advice about everything from dialogue and descriptive passages to revisions and the head game. And there’s more: tips for beginning writers on submitting work for publication, a mark-up of one of King’s own manuscripts, and a reading list. You might not be awake at 3 a.m. turning these pages, but we promise On Writing will open your eyes to essential tricks of the trade.
Still Writing by Dani Shapiro
Dani Shapiro‘s book, Still Writing: The Perils and Pleasures of a Creative Life, is a perfect walk through an imperfect process. She shares the tried and true rules that some aspiring writers may want to hear, like using the five senses, sticking to a work schedule, and avoiding clichéd characters; but it is the places where Shapiro acknowledges the ambiguity of the process that stand out. Peppered with personal history and insight into how and where she created novels like Black and White as well as acclaimed memoirs Devotion and Slow Motion, Shapiro gives us a road map to writing with one simple direction at its heart: Keep writing. The rules she lays out are meant to be broken; no life-story is more worthy of being written than any other; no process (unless it involves surfing the Web instead of actually writing) is wrong. Yes, Dani Shapiro is still writing, and because she possesses that all-important need to create, it seems she will be doing so for quite some time.
On Moral Fiction by John Gardner
John Gardner’s On Moral Fiction, by now a well-known classic, is as relevant in its exploration of the obligations of literature as when it was first published in 1979. Gardner discusses art and criticism, concluding that the artist has a responsibility to produce “moral” works for the sake of society. “Art discovers, generation after generation, what is necessary to humanness,” says Gardner. By linking literature to such elemental ideas as immortality and death, entropy and truth, Gardner dramatizes the act of writing itself, coloring literature and criticism with such vitality and excitement that it is hard not to become exhilarated. “Art gropes,” Gardner says. “It stalks like a hunter lost in the woods, listening to itself and to everything around it, unsure of itself, waiting to pounce.” You might say that some of his ideas are outrageous or unconventional, but none of them lack the ability to provoke us.
First You Write by Joni Rodgers
It’s fitting that Joni Rodgers’s First You Write: The Worst Way to Become an Almost Famous Author and the Best Advice I Got While Doing It is available only as an e-book. Rodgers’s writes with wit and candor not only about her circuitous route to becoming a New York Times bestselling memoirist (Bald in the Land of Big Hair, a searingly funny account of her journey through cancer) and a critically acclaimed small-press novelist (Crazy for Trying; Sugar Land), but also about her pioneering adventures in self-publishing on Kindle. Rodgers’s willingness to experiment (isn’t that what artists do?) and to turn preconceived publishing notions on their ear is wonderfully refreshing, and her whip-smart observations will keep you turning (virtual) pages.
The Forest for the Trees by Betsy Lerner
Betsy Lerner’s The Forest For The Trees begins as a psychological compendium of the writer’s life; written to the writer, with love. Lerner diagnoses writers: the ambivalent, the natural, the neurotic, and as we relate to aspects of each, we are delivered through an embarrassing adolescence of our own writerly growth, discovering who we were, are, and might better be. Through humorous and often moving anecdotes and a wealth of quotable quotes, we sweep through the personal and into the political landscape of the literary industry. Like all good books, Lerner’s reflects the reader (as writer) back to herself at every moment. She morphs between midwife and editor, weaving stories that teach us how best to birth our own.
The Writing Life by Annie Dillard
In the years since its original publication, Annie Dillard’s The Writing Life has become a must-read for aspiring writers of all walks. Perhaps this is because her approach to the creative process manages a kind of golden ratio, a balance of magic and pragmatism that continues to reveal its depths to writers of the 21st century. Plainly, this is not a field guide. Dillard does not draw a tidy map. She does the opposite, acknowledging the unknown and unknowable wilderness that every writer must face. “The line of words is a miner’s pick, a wood carver’s gouge, a surgeon’s probe. You wield it, and it digs a path you follow. Soon you find yourself deep in new territory. Is it a dead end, or have you located the real subject? You will know tomorrow, or this time next year.” A master in the art of illumination, she focuses on the edges of big ideas. The resulting work is as mystifying as it is enduring.
Writing Past Dark by Bonnie Friedman
In Writing Past Dark, Bonnie Friedman shines a light on the hidden ways we mess ourselves up—with envy, fear, distraction, and other self-defeating habits of mind. “Successful writers are not the ones who write the best sentences. They are the ones who keep writing,” she says. “They are the ones who discover what is most important and strangest and most pleasurable in themselves, and keep believing in the value of their work, despite the difficulties.” With warmth and candor, Friedman offers insights into surmounting those tricky obstacles.
The Elements of Style by Strunk and White
Of the hundreds of volumes written about the art and craft of writing, The Elements of Style by William Strunk and E.B. White is the elegant granddad. This slim volume offers no touchy-feely solutions for writer’s block, no inspirational exercises, and no musings on the writing life. Instead, it contains clear, concise rules for writing well, delivered with panache. Whether you strive for formal excellence or stylistic innovation, whether you’re a first-time author or have a string of publications to your name, there’s something here to learn—or gladly rediscover.
Story: Substance, Structure, Style, and the Principles of Screenwriting by Robert McKee
Robert McKee (the renowned screenwriting guru whose real-life teaching persona was portrayed by Brian Cox in the film Adaptation) is required reading, but not just for screenwriters. He illustrates good plotting and structure that can make your novels or short stories as gripping as your favorite film. In Story, McKee structures his advice by first broadly stating a principle of writing, then expounding on different ways it can be applied, with examples from all kinds of scripts. His pearls of wisdom have been legendary in the Hollywood world, and they’ll certainly stick in your head after you’re through this book. Whether you’re writing for the screen or the page, this fantastic book will help you break your work down to the core of why we write fiction in the first place: the story.
Making Shapely Fiction by Jerome Stern
It’s easy, when one is far enough along in the “writing life,” to assume that a manual won’t have much to offer beyond technical guidance and fluffy prompts. But Stern’s wise and thorough little book should be as indispensable to the master of the form as the student. Like Stern himself, who was the head of the Creative Writing Program at Florida State University for many years, it takes a brass tacks approach to fiction, one that can be read straight through if you want to bone up on the basics or in bits and pieces as inspiration is needed. The “shapes” in question are sixteen storytelling archetypes which Stern breaks down in the book’s first section, followed by a tongue-in-cheek section on whether or not to write what you know, and finally a glossary of terms “from Accuracy to Zig-Zag.” This may all sound like stuff you already know, but to read them again in Stern’s irreverent voice is like revisiting fairy tales from your childhood and discovering all the dirty parts that went over your head. You’ll want to dig back into your own discarded ideas box and sculpt something new.
Steering the Craft and The Language of the Night by Ursula K. Le Guin
Ursula Le Guin has published two books about writing. The more recent of these, Steering the Craft (1998), is intended for experienced writers, the ones, she says, who “blow all Rules of Writing to bits.” It offers exercises and advice on storytelling, point of view, and grammar. For the younger author, there is her 1979 volume, The Language of the Night, filled with inspirational essays on science fiction and fantasy, that are no less rigorous than the later book. “In art,” she observes, “‘good enough’ is not good enough.”