Litopia Writers’ Reading List 2024
Peter Cox, founder of Litopia
I asked our members a simple question.
Which books have had the most profound impact on your development as a writer?
Here’s what they told me. A glorious cornucopia of more than forty definitive titles that ought to be on your reading list.
And note: if you buy them all (why not?) it will still be cheaper than taking one average-priced commercial writing course.
We’ve all enjoyed putting this list together, and we hope you get as much out of it as we have.
Peter Cox
Bird by Bird by Anne Lamott
Our Summary
Down to earth advice, not so much about the craft per se as the practice (and pitfalls) of "being a writer".
What I learned From It
I'm actually still reading it, but so far I've got lots of encouragement from it. Her style is super informal and she has a wonderful dry wit, it's like a brilliant chat in the pub with someone who really knows their shit and you go away thinking, "yeah, I really can do this..."
Josephine
Talking Books by James Carter
The Elements Of Eloquence: Secrets Of The Perfect Turn Of Phrase by Mark Forsyth
Our Summary
This is a book with a clear message (from the blurb): In an age unhealthily obsessed with the power of substance, this is a book that highlights the importance of style.
What I learned From It
About thirty chapters each dedicated to a rhetorical figure. The book is a fun read and has plenty of examples from The Bible, Shakespeare and Tupac ( "Money don't make the man, but man I'm making money")
JohnBertel
Show Don’T Tell by Sandra Gerth
Our Summary
Defines and illustrates the strategy. Explains the importance, art and limit of showing; also lists the uses of telling. Offers exercises and proposes solutions for some of them.
What I learned From It
I learned that 'telling' comes naturally to me but 'showing' much less so. This book is one I return to time and time again while I'm revising what I've written.
Jeanette
Point Of View by Sandra Gerth
Our Summary
A clear, informative guide to the different types of POV with tips on choosing the best POV for your own manuscript. Offers exercises focused either on your work in progress or on a published book.
What I learned From It
I saw how to mix some POV, how and why to avoid head-hopping and picked up tips on internal monologue.
Jeanette
The Writer’s Journey by Christopher Vogler
Our Summary
This is Hollywood story consultant Vogler's distillation of Campbell's The Hero With A Thousand Faces. That is, it's a book on comparative mythology turned into a writing manual about the "Hero's Journey".
What I learned From It
See description in previous post of Campbell's The Hero With A Thousand Faces.
Rich.
The Situation And The Story – The Art Of Personal Narrative by Vivian Gornick
Our Summary
Every work of literature has both a situation and a story, and modern memoir is all about the self that we become through life experience. She deftly illustrates this rather lofty theory with specific examples of how personal narrative is memorably crafted by different writers.
What I learned From It
Memoir is not about you or your life. It is about finding the truth and making sense of life experience to deliver a story that will resonate with readers. A hugely helpful read for anyone planning a memoir.
Mel L
The Conflict Thesaurus by Angela Ackerman And Becca Puglisi
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
Stein On Writing by Sol Stein
Our Summary
With examples from bestsellers as well as from students' drafts, Stein offers detailed sections on characterization, dialogue, pacing, flashbacks, trimming away flabby wording, the so-called "triage" method of revision, using the techniques of fiction to enliven nonfiction, and more.
What I learned From It
I got this in audio and it is like being called into the editors office and being told what goes, what stays. He talks about good writing, higher writing, yes. But always making it clear that you gotta get bums on seats,
Pamela Jo
The Positive Trait Thesaurus by Angela Ackerman And Becca Puglisi
Our Summary
Lists character traits to help you generate different types of characters and how these traits might manifest. Useful in conjunction with The Negative Trait Thesaurus by the same authors.
What I learned From It
Helped me to write characters with more depth and think of a wider range of character types for my books.
Claire G
Into The Woods: How Stories Work And Why We Tell Them by John Yorke
Our Summary
A structural guide to storytelling, plotting, punch, flow step by step
What I learned From It
Although such a step by step guide seems a bit prescriptive and in theory has the potential to limit the creative flow, I found that following the principles helped prevent a story from being a shapeless mass and made it take shape and form. A bit like a block of marble being turned into Michelangelo's David (although perhaps my results have been less classically terrific). Or a diving board: a structure from which to soar.
AliG
The Art Of Fiction by John Gardner
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
Characters & Viewpoint by Orson Scott Card
Our Summary
Techniques of inventing, developing and presenting characters, plus handling viewpoint in novels and short stories. Spells out your narrative options in creating "real" fictional people. Distinguish among major characters, minor characters and walk-ons, and develop each appropriately. Choose the most effective viewpoint to reveal the characters and move the storytelling. Decide how deeply you should explore your characters' thoughts, emotions, and attitudes.
What I learned From It
This demystified POV for me when I first started writing prose. It also taught me how some of my all-time favorite characters were made, and why I loved them.
LJ Beck
Write Great Beginnings by Sandra Gerth
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
Intuitive Editing by Tiffany Yates Martin
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
Hooked by Les Edgerton
On Writing by Stephen King
Our Summary
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,” 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.
What I learned From It
Just write a story readers will read.
James Charles
The Dictionary Of Body Language by Joe Navarro
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
Techniques Of The Selling Writer by Dwight V. Swain
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.
