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
Truth by Susan Batson
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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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.
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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
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The INFJ Writer by Lauren Sapala
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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Save the Cat Writes a Novel by Jessica Brody
Our Summary
Great for understanding genre, theme, 3 act structure. Very well explained. Lots of examples of story beats from popular books. Even looks at pitches and loglines.
What I Learned From It
I found the famous beat sheet really helpful in deciding when to do what in my novel. The biggest thing for me was understanding structure enough to keep those pages turning
Hannah F
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Writing Historical Fiction by Emma Darwin
Our Summary
A beginners' guide to writing historical fiction which draws on the material in her coaching sessions and lectures: characters, plot structure, research, using your senses to recreate the past and psychic distance. There are plenty of examples and exercises.
What I learned From It
I still dip into this book if I'm stuck in my writing or need some inspiration. It's practical rather than theoretical which works for me.
Liz Brown
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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
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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
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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
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Kindred by Octavia Butler
Our Summary
Despite being written 45 years ago, it feels like a modern work. It’s at once Sci-Fi, Fantasy, Speculative, and even Literary. Everything a writer needs to know about sparse and impactful prose can be found in these pages.
What I Learned From It
Pithy writing has power. Take a look at the first paragraph…
“I lost an arm on my last trip home. My left arm.”
We don’t know why Dana lost her left arm - or where she was when it happened. However, most of us would keep on reading to find out.
The minimalist approach doesn’t end with the hook. Throughout the novel, the writing is direct and matter-of-fact. There’s no purple prose to distract the reader.
Butler's worldbuilding is likewise utilitarian. She sets the stage with everything we need to know, and little else. If something more is needed to move a scene forward, she’ll drop it in later so readers aren't overwhelmed.
There is brutality in this world, and Kindred doesn’t shy away from it. Slavery in the US was a cruel business. Still, she conveys the humiliation and suffering of human bondage with an economy of words. There’s no need for intricate detail.
There’s also no need to explain why slavery is wrong. Butler trusts her readers enough not to lecture them.
The author falls into a common conceit of the era - chapter titles. However, she doesn’t abuse that conceit. Each title is short and to the point with neither wit nor irony. There are no spoilers, either. The meanings are clear upon finishing a respective chapter.
Kindred has both a prologue and an epilogue. Few books need one, and even fewer need both. However, this story demands both. There is nothing extraneous about their inclusion here. Unlike many novels, neither feels bolted on to the main narrative. The prologue hooks the reader while the epilogue provides the necessary denouement.
Not everyone agrees Kindred is Science Fiction. If it’s not, there's a lot here for Sci-Fi readers (including myself) to like. If it is Science Fiction, the characters and dialogue are much more realistic than most contemporary works.
Most importantly - this book remains relevant to readers and authors alike.
Bloo✒️
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Manuscript Makeover: Revision Techniques No Fiction Writer Can Afford to Ignore by Elizabeth Lyon
Our Summary
Presents in a highly readable, organized way all of the elements of a novel, from the significance of genre and common to lesser-known structures to all the aspects of a writers' craft. Briefly and with amazing clarity, describes potential problems which might arise from each, then follows with suggestions for how to "fix" them. Chapters are organized around particular craft elements and issues, so readers can choose which parts of the book to focus on relative to their personal writing needs. Review checklists of problems and their solutions are included at the end of each chapter.
What I Learned From It
I have now read easily a dozen books on how to write a novel, plus several on revision, and while I've taken away something of value from each, not one of them has given me the breadth of awareness and practical understanding of craft elements, from A to Z and beyond, that this jam-packed, wisely conceived and clearly presented book has given me. It's not prescriptive, nor does it follow the latest trends in fiction writing. Ms Lyons doesn't think she has 'the' answer or make suggestions that make a writer feel like a square peg being forced into a round hole, but rather shows writers how to consider each issue in light of their own writing style, voice and vision for their novel. Check out the Amazon reviews; I'm not the only one who loves this book. It's a keeper! And one to be used over and over.
CarolMS
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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
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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
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The Hero With A Thousand Faces by Joseph Campbell
Our Summary
First published in 1949, this dense, sometimes impenetrable, and somewhat controversial book on comparative mythology takes a tour through world folklore to tease out common themes and archetypes.
What I learned From It
What George Lucas was thinking when he wrote Star Wars. If you want to understand Hollywood's obsession with this mode of storytelling, you should read this book. If you've heard other writers talk/evangelize/fret about the "Hero's Journey" and you're not exactly sure what they're talking about, you should read this book. If you have even the most passing interest in commercial Western storytelling, you should read this book. Also see "The Writer's Journey" by Christopher Vogler.
Rich.
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Developing A Written Voice by Dona J Hickey
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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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
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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
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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.
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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
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The Things They Carried by Tim O’Brien
Our Summary
a series of essays and short stories on the nature of story
What I learned From It
It does a great job of explaining the nature of truth in story. there's a great section which notes that the factually correct war story is not the really true one,
MattScho
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