Our Summary

This is a self-proclaimed book of basics, but Gardner is clearly elitist; this work is aimed at writers aspiring to create art. It covers plot, character, sentence structure, poetic rhythm - all the mechanics of writing fiction - but he's less interested in dictating laws of good writing. "Every true work of art," Gardner claims, "must be judged primarily by its own laws." His primary interest is about how to create a vivid dream to absorb the reader to the end of the story.

What I learned From It

This book is disorganised, but full of important lessons. There is no story until there is a plot capable of expressing it. The primary requirement of a piece of fiction is verisimilitude - that the reader can believe these events happened, or could have happened, or might happen in a slightly different world. And verisimilitude requires vivid detail. Most importantly it taught me to focus less on the technical details of correct writing and more on making the writing vivid and absorbing.

Dan Payne

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Our Summary

This dense work focuses on a directed attitude towards developing Voice. From conversational to formal, snarky to respectful, it's all about word choice and the way that language will both sound and convey meaning. The same words with the same meaning can nevertheless be ordered in different ways with a difference in the way they are perceived, the it is this that comprises 'voice'. Replete with concrete examples and pertinent exercises, this book is hard to find but well worth the search.

What I learned From It

All writers have a voice, but not all work at developing it - or even possess a framework for it. This book provides a framework and it's a book I will continue working through for years to come.

Dan Payne

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Our Summary

First published in 1965, Swain's book is a no-nonsense, broad-brush instruction manual for beginners that shows you how to construct a commercial story.

What I learned From It

The basic shape of commercial fiction (and how unchanging that shape has been for more than half a century). Every other writing manual I've ever read has felt like a retelling or offshoot of this book.

Rich.

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Our Summary

Defines "a beginning" and lists do's and don'ts together with pointers on how to achieve the first and avoid the second. Offers exercises based either on an ongoing manuscript or a published work.

What I learned From It

This is a comprehensive and clear overview written in simple terms. The points it makes are self-contained so you can zoom directly to whatever concern you have about the beginning of your work.

Jeanette

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Our Summary

Alan Baxter, a martial arts instructor and author, talks about what makes a good fight scene, and how to write rich scenes that are realistic and engaging for the reader. He discusses hand fighting in depth--techniques used, guarding and blocking, common injuries sustained in fighting, the consequences of a knockout. He explains how a smaller opponent must fight differently than a larger opponent. He discusses the sounds, smells, and yes, tastes of a fight. He discusses how the use of weapons affects the pace and outcome of a fight. Most importantly, he dives into the psychology of a fight--the effects of adrenaline, training, and experience on how people fight and how they react to a fight. All these details are explained in the context of how to convey the chaos and emotion of a fight on the page.

What I learned From It

I learned how to realistically give my characters challenging odds in fights. I also learned how to make a fight scene rich in detail without focusing on the blow-by-blow of a fight. Most importantly, I learned that the key to a fight is the emotional reactions of the characters--how the characters experience and emotionally process the fight is more important than the mechanics of the conflict itself. I also learned how to realistically address the aftermath of a fight--the broken hands, concussions, emotional turmoil--rather than have my characters bounce right back as though nothing happened.

Robinne Weiss

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Our Summary

Everything you could possibly need to know to get your manuscript to submission or self-publishing standards.

What I Learned From It

This book is gold dust. Made me think objectively about everything I've been doing or hope to do.

Vagabond Heart

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Our Summary

Not a writing book per say, but an invaluable text for writers. That is, it's dictionary structure means you can flick to a section and read about a specific body part you want to write about and read authentic body language positions/movements, etc. for each character. For example, you might might want to write about a character's eye, head, hand, etc. movement, the text allows you to learn authentic, non-cliched body language. Written by a ex-FBI agent, it is easy to read and invaluable for adding layers of authentic 'show' to characters. Works well with Navarro's first book What Every Body is Saying (a more detailed account of body language with illustrations).

What I learned From It

Genuine body language that can be adapted to different characters for accurate emotion and thus characterisation. Rather than relying on the usual cliches in body language for characters, this book elevates and authenticates body language, movement, and thus emotion that 'shows' rather than 'tells' the reader in a believable manner. Easy to use both via the chapter headings and the detailed index to research each different part of the body. This is one book I would not be without as a writer.

Rachael Burnett

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Our Summary

Writing (and living) advice for people whose brains don't work well with logic, plotting etc. Another perspective! (The letters refer to Myers-Briggs type personality indicators, which aren't flawless, but broadly if you tend to be led more by feelings and intuitive reasoning, this might work for you).

What I Learned From It

I'd been getting super snarled up trying to follow advice that just didn't work for me in practice, even though I could see it made theoretical sense. This book gave me a bit of space to trust myself to learn my own process. I've still got a long way to go but I do a lot less bashing my head against a brick wall these days. Sharing it in case anyone else is in the same boat!

Josephine

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Our Summary

Public personas, needs, and tragic flaws - A step-by-step guide for creating truth in a character from an acting perspective.

What I learned From It

This one's a little off the beaten path... I was fascinated with method acting, and wanted to bring that to my writing. How to embody and write the truth of a character. This is one of the books I learned a lot from in that regard.

LJ Beck

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Our Summary

A breakdown of types of conflicts for your story and potential fall-outs for characters. Useful for sparking your imagination early in the creative process or if you feel that the stakes aren't high enough when you're writing.

What I learned From It

It opened my mind to different ideas and consequences.

Claire G

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