fiction books essay

Greater Good Science Center • Magazine • In Action • In Education

How Reading Fiction Can Shape Our Real Lives

I started college in the fall of 2003, when I was seventeen years old. I’d spent the last year dissecting news articles with my AP Government class on the U.S.’s escalating tensions with Iraq. War had moved beyond theory and into inevitability—yet I didn’t know how to express my horror and had even less of an idea of what to do with it. Then, six months after the first time the U.S. invaded Fallujah, I read Tim O’Brien’s The Things They Carried .

In this award-winning novelization of his experiences as a soldier in the Vietnam War, O’Brien tells the story of Rat Kiley and Curt Lemon. Rat and Curt are best friends—inseparable—until the moment when, during a game of catch, Curt steps on a hidden landmine and dies instantaneously. The abruptness of the incident and its placement in the middle of a scene of languor tells one kind of truth about the arbitrariness of war. But what struck me most—what motivated me to find out what I could do instead of merely understand—is the scene that comes after.

The narrator, who is also a soldier in Curt and Rat’s unit, tells the reader that shortly after Curt’s death, they stumble upon a baby water buffalo. Rat strokes its nose—and then shoots it in its right front knee, its back, twice in its flanks. Piece by piece, he tears the buffalo apart. The narrator tells us:

Advertisement X Keep Up with the GGSC Happiness Calendar Slow down and simplify this month Now and then, when I tell this story, someone will come up to me afterward and say she liked it… That as a rule she hates war stories… but this one she liked. The poor baby buffalo, it made her sad… What I should do, she’ll say, is put it all behind me. Find new stories to tell. I won’t say it but I’ll think it… You dumb [expletive] . Because she wasn’t listening. It wasn’t a war story. It was a love story.

The story of Rat and Curt didn’t just illuminate to me that the human costs of war extend far beyond death—it allowed me to feel the anguish of it, albeit a tiny fraction of it. From Uncle Tom’s Cabin to 1984 , novels have been used for generations as a way to urge readers to confront real-world sociopolitical issues. And it works—I know because I’m proof.

There’s scientific evidence to back me up, too.

In a recent article entitled “ Sitting Still and Reading: Rethinking the Role of Literary Fiction in Civics Education ,” literary scholar Annie Schultz argues for the importance of teaching literature alongside simulations of civic practices. She claims engaging students in civic activities, like community organizing or Model United Nations, should be paired with “literary representations of existential journeys to political consciousness.” That, through doing so, “reading and thinking can become emancipatory activities.” Indeed, an ever-growing body of research shows fiction has the proven capacity to make readers more open-minded, empathetic, and compassionate —capacities critical to ensuring we come out the other side of a global pandemic and a culture of militarized white supremacy with greater societal equity.

Why? Perhaps because a reader sits with a novel for hours, days, weeks—far longer than when consuming any other art form. This concentrated time gives a reader an embodied experience of the other, increasing their awareness and appreciation for differing perspectives.

Canadian cognitive psychologist Keith Oatley, who has been researching the effects of fiction on psychology for decades, found that the neural mechanisms the brain triggers to process narratives are similar to some of their real-life counterparts. For example, when reading the word “kick” or about someone pulling a cord, the same areas of the brain related to physically kicking or grasping are activated. One study found that one of the most important features of whether or not reading a passage of fiction simulated the default network of the brain—the network believed to support the human capacity to engage in rumination and simulate hypothetical scenes, spaces, and states of mind—was “whether or not they described a person or a person’s mental content.” In other words, being exposed to a character’s thought processes encouraged a deeper level of reflection than when reading abstract or “non-social passages.” The intimacy of a reader’s relationship with a fictional narrator’s interior dialogue is perhaps one of its most singular characteristics—a process Schultz describes as turning “the inner lives of oppressed characters outward.”

Fourteen years after first reading O’Brien’s book, I found myself back at my undergrad alma mater. I was teaching a writing class and used that same chapter of The Things They Carried —the one with the story about Rat and Curt. In the book, the narrator never self-identifies themselves by either name or gender, but a young cis male student claimed he knew the narrator was male because the narrator didn’t wax poetic about their emotions. When I asked him what character he felt expressed the most emotion in the piece, he paused and said, “Huh—Rat. A man.” It seems likely that this insight opened a door in the student’s mind—and perhaps he was able to let go of his idea that men couldn’t express a lot of emotion. One group of researchers argue that in “reading the written work of others, you enter their minds. In coming to terms with the mind of another, you can come to better discover your own.” In doing so, we can discover new perspectives through which to understand ourselves and others. Schultz concludes her article: “We do not ask students to limit their thinking to that which is acceptable within the languages and systems in place but, rather, to narrate their own histories and selves as a way to create themselves and society by extension.”

Greater Good Chronicles

Years ago, I stumbled upon Plato’s Apology —his account of Socrates’ defense while on trial for “corrupting the youth of Athens”—in a used bookstore. Socrates explained he was trying to disprove the Oracle of Delphi’s proclamation that he was the wisest of all men—yet, after every interaction he had with men he was told were wise, he determined they were not. It was this exposure of false wisdom (and, I imagine, hubris) that earned him the admiration of the Athenian youth.

One of the groups Socrates discounts is the poets. In his disputation, he says, “Not by wisdom do poets write poetry but by a sort of genius and inspiration.” His claim was that poets couldn’t be wise because their work was rooted in imagination, but I—and maybe the jury who found him guilty and sentenced him to death—believe the opposite to be true. The invented, fictive space is where truth can be found precisely because it doesn’t claim to hold it. Rather, fictional narratives provide the reader with an experience on which to reflect and discern meaning.

When readers read fiction, they know they are encountering human-constructed characters, settings, and situations. This necessary suspension of disbelief—of having to entertain the possibility of other realities—means readers of fiction aren’t merely learning to understand the world as it is, but, also, how to imagine a different one. And it is this act of imagining that makes alternative futures possible—a future without endless, violent conflict, for example.

A white paper published in 2017 by the National Academies of Science goes so far as to make the argument that narratology—“the study of narrative, narrative structure, and narrative discourse”—and narrative psychology—an understanding of “how narrative influences cognitive processes”—should be an interest of national security. The paper was published in response to a policy brief distributed by the Department of Defense which focuses “on a critical and enduring challenge in warfare—the need to understand relevant actors’ motivations and the underpinnings of their will .” The authors of the white paper write:

If there is doubt about the value of narrative… to national security, it only takes one look beneath the events displayed in the daily news…: somewhere prior to the action garnering international attention, communication happened that resonated with an audience, who found more reasons to act than not.

That is a point that becomes only more salient with every passing day, in 2020.

I am not trying to claim that O’Brien’s book single-handedly transformed me into an anti-war activist, but it did force me to sit with the unspeakable brutality of one war and reflect on its implications for a new one. It inspired me to continue seeking out news on the ongoing occupation of Iraq, to start writing political commentary for my college newspaper, to take a class on the Vietnam War, to visit Vietnam with a remarkable professor who is himself a Vietnam vet, to join anti-war marches in Philadelphia, to organize my first demonstration on the fourth anniversary of the invasion of Fallujah with an Iraq War vet in the spring of my senior year.

My first job after college was as the National Media Coordinator for Iraq Veterans Against the War (now called About Face: Veterans Against the War ), a national nonprofit made up of post-9/11 service members fighting against American militarism. Since then, I’ve exclusively worked in the fields of communications and community organizing for mission-driven nonprofits and organized labor for more than twelve years. When a friend recently told me he only reads nonfiction because he (like Socrates!) prefers to read something “real,” I couldn’t help but think he got it wrong. Fiction isn’t the antithesis to reality—it helps shape it. In her new book of essays, Azadi: Freedom. Fascism. Fiction , Arundhati Roy opens by recalling a conversation with her editor. When he asked her what she thought of when she thought of the word “Azadi” (Urdu for “freedom”), she said, “[W]ithout a moment’s hesitation, ‘A novel.’”

Roy continues, “A novel, to me, is freedom with responsibility.” And that, I think, is what makes fiction a revolutionary tool—it doesn’t just provide readers with the capacity to imagine different futures, but, crucially, the very real people in them.

About the Author

Francesca Lo Basso

Francesca Lo Basso is a narrative strategist, writer, and community organizer with more than twelve years of experience working for mission-driven nonprofits and organized labor. Most recently, her creative nonfiction pieces have been published in Toho magazine and in an anthology of micro-essays entitled Conversations with Men . She currently works for education justice nonprofit Big Picture Philadelphia , which provides holistic, student-centered learning at two Philadelphia area high schools. She holds an MFA in Creative Writing from Kingston University in London and a BA in English and Philosophy from La Salle University.

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Whether you’ve been struck with a moment of inspiration or you’ve carried a story inside you for years, you’re here because you want to start writing fiction. From developing flesh-and-bone characters to worlds as real as our own, good fiction is hard to write, and getting the first words onto the blank page can be daunting.

Daunting, but not impossible. Although writing good fiction takes time, with a few fiction writing tips and your first sentences written, you’ll find that it’s much easier to get your words on the page.

Let’s break down fiction to its essential elements. We’ll investigate the individual components of fiction writing—and how, when they sit down to write, writers turn words into worlds. Then, we’ll turn to instructor Jack Smith and his thoughts on combining these elements into great works of fiction. But first, what are the elements of fiction writing?

Introduction to Fiction Writing: The Six Elements of Fiction

Before we delve into any writing tips, let’s review the essentials of creative writing in fiction. Whether you’re writing flash fiction , short stories, or epic trilogies, most fiction stories require these six components:

Plot: the “what happens” of your story.
Characters: whose lives are we watching?
Setting: the world that the story is set in.
Point of View: from whose eyes do we see the story unfold?
Theme: the “deeper meaning” of the story, or what the story represents.
Style: how you use words to tell the story.

It’s important to recognize that all of these elements are intertwined. You can’t build the setting without writing it through a certain point of view; you can’t develop important themes with arbitrary characters, etc. We’ll get into the relationship between these elements later, but for now, let’s explore how to use each element to write fiction.

1. Fiction Writing Tip: Developing Fictional Plots

Plot is the series of causes and effects that produce the story as a whole. Because A, then B, then C—ultimately leading to the story’s climax , the result of all the story’s events and character’s decisions.

If you don’t know where to start your story, but you have a few story ideas, then start with the conflict . Some novels take their time to introduce characters or explain the world of the piece, but if the conflict that drives the story doesn’t show up within the first 15 pages, then the story loses direction quickly.

That’s not to say you have to be explicit about the conflict. In Harry Potter, Voldemort isn’t introduced as the main antagonist until later in the first book; the series’ conflict begins with the Dursley family hiding Harry from his magical talents. Let the conflict unfold naturally in the story, but start with the story’s impetus, then go from there.

2. Fiction Writing Tip: Creating Characters

Think far back to 9th grade English, and you might remember the basic types of story conflicts: man vs. nature, man vs. man, and man vs. self. The conflicts that occur within stories happen to its characters—there can be no story without its people. Sometimes, your story needs to start there: in the middle of a conversation, a disrupted routine, or simply with what makes your characters special.

There are many ways to craft characters with depth and complexity. These include writing backstory, giving characters goals and fatal flaws, and making your characters contend with complicated themes and ideas. This guide on character development will help you sort out the traits your characters need, and how to interweave those traits into the story.

3. Fiction Writing Tip: Give Life to Living Worlds

Whether your story is set on Earth or a land far, far away, your setting lives in the same way your characters do. In the same way that we read to get inside the heads of other people, we also read to escape to a world outside of our own. Consider starting the story with what makes your world live: a pulsing city, the whispered susurrus of orchards, hills that roil with unsolved mysteries, etc. Tell us where the conflict is happening, and the story will follow.

4. Fiction Writing Tip: Play With Narrative Point of View

Point of view refers to the “cameraman” of the story—the vantage point we are viewing the story through. Maybe you’re stuck starting your story because you’re trying to write it in the wrong person. There are four POVs that authors work with:

First person—the story is told from the “I” perspective, and that “I” is the protagonist.
First person peripheral—the story is told from the “I” perspective, but the “I” is not the protagonist, but someone adjacent to the protagonist. (Think: Nick Carraway, narrator of The Great Gatsby. )
Second person—the story is told from the “you” perspective. This point of view is rare, but when done effectively, it can create a sense of eeriness or a personalized piece.
Third person limited—the story is told from the “he/she/they” perspective. The narrator is not directly involved in the lives of the characters; additionally, the narrator usually writes from the perspective of one or two characters.
Third person omniscient—the story is told from the “he/she/they” perspective. The narrator is not directly involved in the lives of the characters; additionally, the narrator knows what is happening in each character’s heads and in the world at large.

If you can’t find the right words to begin your piece, consider switching up the pronouns you use and the perspective you write from. You might find that the story flows onto the page from a different point of view.

5. Fiction Writing Tip: Use the Story to Investigate Themes

Generally, the themes of the story aren’t explored until after the aforementioned elements are established, and writers don’t always know the themes of their own work until after the work is written. Still, it might help to consider the broader implications of the story you want to write. How does the conflict or story extend into a bigger picture?

Let’s revisit Harry Potter’s opening scenes. When we revisit the Dursleys preventing Harry from knowing about his true nature, several themes are established: the meaning of family, the importance of identity, and the idea of fate can all be explored here. Themes often develop organically, but it doesn’t hurt to consider the message of your story from the start.

6. Fiction Writing Tip: Experiment With Words

Style is the last of the six fiction elements, but certainly as important as the others. The words you use to tell your story, the way you structure your sentences, how you alternate between characters, and the sounds of the words you use all contribute to the mood of the work itself.

If you’re struggling to get past the first sentence, try rewriting it. Write it in 10 words or write it in 200 words; write a single word sentence; experiment with metaphors, alliteration, or onomatopoeia . Then, once you’ve found the right words, build from there, and let your first sentence guide the style and mood of the narrative.

Now, let’s take a deeper look at the craft of fiction writing. The above elements are great starting points, but to learn how to start writing fiction, we need to examine the craft of combining these elements.

Primer on the Elements of Fiction Writing

First, before we get into the craft of fiction writing, it’s important to understand the elements of fiction. You don’t need to understand everything about the craft of fiction before you start keying in ideas or planning your novel. But this primer will be something you can consult if you need clarification on any term (e.g., point of view) as you learn how to start writing fiction.

The Elements of Fiction Writing

A standard novel runs between 80,000 to 100,000 words. A short novel, going by the National Novel Writing Month , is at least 50,000. To begin with, don’t think about length—think about development. Length will come. It is true that some works lend themselves more to novellas, but if that’s the case, you don’t want to pad them to make a longer work. If you write a plot summary—that’s one option on getting started writing fiction—you will be able to get a fairly good idea about your project as to whether it lends itself to a full-blown novel.

For now, let’s think about the various elements of fiction—the building blocks.

Writing Fiction: Your Protagonist

Readers want an interesting protagonist , or main character. One that seems real, that deals with the various things in life we all deal with. If the writer makes life too simple, and doesn’t reflect the kinds of problems we all face, most readers are going to lose interest.

Don’t cheat it. Make the work honest. Do as much as you can to develop a character who is fully developed, fully real—many-sided. Complex. In Aspects of the Novel , E.M Forster called this character a “round” characte r. This character is capable of surprising us. Don’t be afraid to make your protagonist, or any of your characters, a bit contradictory. Most of us are somewhat contradictory at one time or another. The deeper you see into your protagonist, the more complex, the more believable they will be.

If a character has no depth, is merely “flat,” as Forster terms it, then we can sum this character up in a sentence: “George hates his ex-wife.” This is much too limited. Find out why. What is it that causes George to hate his ex-wife? Is it because of something she did or didn’t do? Is it because of a basic personality clash? Is it because George can’t stand a certain type of person, and he didn’t realize, until too late, that his ex-wife was really that kind of person? Imagine some moments of illumination, and you will have a much richer character than one who just hates his ex-wife.

And so… to sum up: think about fleshing out your protagonist as much as you can. Consider personality, character (or moral makeup), inclinations, proclivities, likes, dislikes, etc. What makes this character happy? What makes this character sad or frustrated? What motivates your character? Readers don’t want to know only what —they want to know why .

Usually, readers want a sympathetic character, one they can root for. Or if not that, one that is interesting in different ways. You might not find the protagonist of The Girl on the Train totally sympathetic, but she’s interesting! She’s compelling.

Here’s an article I wrote on what makes a good protagonist.

Also on clichéd characters.

Now, we’re ready for a key question: what is your protagonist’s main goal in this story? And secondly, who or what will stand in the way of your character achieving this goal?

There are two kinds of conflicts: internal and external. In some cases, characters may not be opposing an external antagonist, but be self-conflicted. Once you decide on your character’s goal, you can more easily determine the nature of the obstacles that your protagonist must overcome. There must be conflict, of course, and stories must involve movement. Things go from Phase A to Phase B to Phase C, and so on. Overall, the protagonist begins here and ends there. She isn’t the same at the end of the story as she was in the beginning. There is a character arc.

I spoke of character arc. Now let’s move on to plot, the mechanism governing the overall logic of the story. What causes the protagonist to change? What key events lead up to the final resolution?

But before we go there, let’s stop a moment and think about point of view, the lens through which the story is told.

Writing Fiction: Point of View as Lens

Is this the right protagonist for this story? Is this character the one who has the most at stake? Does this character have real potential for change? Remember, you must have change or movement—in terms of character growth—in your story. Your character should not be quite the same at the end as in the beginning. Otherwise, it’s more of a sketch.

Such a story used to be called “slice of life.” For example, what if a man thinks his job can’t get any worse—and it doesn’t? He started with a great dislike for the job, for the people he works with, just for the pay. His hate factor is 9 on a scale of 10. He doesn’t learn anything about himself either. He just realizes he’s got to get out of there. The reader knew that from page 1.

Choose a character who has a chance of undergoing change of some kind. The more complex the change, the better. Characters that change are dynamic characters , according to E. M. Forster. Characters that remain the same are static characters. Be sure your protagonist is dynamic.

Okay, an exception: Let’s say your character resists change—that can involve some sort of movement—the resisting of change.

Here’s another thing to look at on protagonists—a blog I wrote: https://elizabethspanncraig.com/writing-tips-2/creating-strong-characters-typical-challenges/

Writing Fiction: Point of View and Person

Usually when we think of point of view, we have in mind the choice of person: first, second, and third. First person provides intimacy. As readers we’re allowed into the I-narrator’s mind and heart. A story told from the first person can sometimes be highly confessional, frank, bold. Think of some of the great first-person narrators like Huck Finn and Holden Caulfield. With first person we can also create narrators that are not completely reliable, leading to dramatic irony : we as readers believe one thing while the narrator believes another. This creates some interesting tension, but be careful to make your protagonist likable, sympathetic. Or at least empathetic, someone we can relate to.

What if a novel is told in first person from the point of view of a mob hit man? As author of such a tale, you probably wouldn’t want your reader to root for this character, but you could at least make the character human and believable. With first person, your reader would be constantly in the mind of this character, so you’d need to find a way to deal with this sympathy question. First person is a good choice for many works of fiction, as long as one doesn’t confuse the I-narrator with themselves. It may be a temptation, especially in the case of fiction based on one’s own life—not that it wouldn’t be in third person narrations. But perhaps even more with a first person story: that character is me . But it’s not—it’s a fictional character.

Check out my article on writing autobiographical fiction, which appeared in The Writer magazine. https://www.writermag.com/2018/07/31/filtering-fact-through-fiction/

Third person provides more distance. With third person, you have a choice between three forms: omniscient, limited omniscient, and objective or dramatic. If you get outside of your protagonist’s mind and enter other characters’ minds, you are being omniscient or godlike. If you limit your access to your protagonist’s mind only, this is limited omniscience. Let’s consider these two forms of third-person narrators before moving on to the objective or dramatic POV.

The omniscient form is rather risky, but it is certainly used, and it can certainly serve a worthwhile function. With this form, the author knows everything that has occurred, is occurring, or will occur in a given place, or in given places, for all the characters in the story. The author can provide historical background, look into the future, and even speculate on characters and make judgments. This point of view, writers tend to feel today, is more the method of nineteenth-century fiction, and not for today. It seems like too heavy an authorial footprint. Not handled well—and it is difficult to handle well—the characters seem to be pawns of an all-knowing author.

Today’s omniscience tends to take the form of multiple points of view, sometimes alternating, sometimes in sections. An author is behind it all, but the author is effaced, not making an appearance. BUT there are notable examples of well-handled authorial omniscience–read Nobel-prize winning Jose Saramago’s Blindness as a good example.

For more help, here’s an article I wrote on the omniscient point of view for The Writer : https://www.writermag.com/improve-your-writing/fiction/omniscient-pov/

The limited omniscient form is typical of much of today’s fiction. You stick to your protagonist’s mind. You see others from the outside. Even so, you do have to be careful that you don’t get out of this point of view from time to time, and bring in things the character can’t see or observe—unless you want to stand outside this character, and therein lies the omniscience, however limited it is.

But anyway, note the difference between: “George’s smiles were very welcoming” and “George felt like his smiles were very welcoming”—see the difference? In the case of the first, we’re seeing George from the outside; in the case of the second, from the inside. It’s safer to stay within your protagonist’s perspective as much as possible and not describe them from the outside. Doing so comes off like a point-of-view shift. Yet it’s true that in some stories, the narrator will describe what the character is wearing, tell us what his hopes and dreams are, mention things he doesn’t know right now but will later—and perhaps, in rather quirky stories, the narrator will even say something like “Our hero…” This can work, and has, if you create an interesting narrative voice. But it’s certainly a risk.

The dramatic or objective point of view is one you’ll probably use from time to time, but not throughout your whole novel. Hemingway’s “Hills like White Elephants” is handled with this point of view. Mostly, with maybe one exception, all we know is what the characters say and do, as in a play. Using this point of view from time to time in a longer work can certainly create interest. You can intensify a scene sometimes with this point of view. An interesting back and forth can be accomplished, especially if the dialogue is clipped.

I’ve saved the second-person point of view for the last. I would advise you not to use this point of view for an entire work. In his short novel Bright Lights, Big City , Jay McInerney famously uses this point of view, and with some force, but it’s hard to pull off. In lesser hands, it can get old. You also cause the reader to become the character. Does the reader want to become this character? One problem with this point of view is it may seem overly arty, an attempt at sophistication. I think it’s best to choose either first or third.

Here’s an article I wrote on use of second person for The Writer magazine. Check it out if you’re interested. https://www.writermag.com/2016/11/02/second-person-pov/

Writing Fiction: Protagonist and Plot and Structure

We come now to plot, keeping in mind character. You might consider the traditional five-stage structure : exposition, rising action, crisis and climax, falling action, and resolution. Not every plot works this way, but it’s a tried-and-true structure. Certainly a number of pieces of literature you read will begin in media re s—that is, in the middle of things. Instead of beginning with standard exposition, or explanation of the condition of the protagonist’s life at the story’s starting point, the author will begin with a scene. But even so, as in Jerzy Kosiński’s famous novella Being There , which begins with a scene, we’ll still pick up the present state of the character’s life before we see something that complicates it or changes the existing equilibrium. This so-called complication can be something apparently good—like winning the lottery—or something decidedly bad—like losing a huge amount of money at the gaming tables. One thing is true in both cases: whatever has happened will cause the character to change. And so now you have to fill in the events that bring this about.

How do you do that? One way is to write a chapter outline to prevent false starts. But some writers don’t like plotting in this fashion, but want to discover as they write. If you do plot your novel in advance, do realize that as you write, you will discover a lot of things about your character that you didn’t have in mind when you first set pen to paper. Or fingers to keyboard. And so, while it’s a good idea to do some planning, do keep your options open.

Let’s think some more about plot. To have a workable plot, you need a sequence of actions or events that give the story an overall movement. This includes two elements which we’ll take up later: foreshadowing and echoing (things that prepare us for something in the future and things that remind us of what has already happened). These two elements knit a story together.

Think carefully about character motivations. Some things may happen to your character; some things your character may decide to do, however wisely or unwisely. In the revision stage, if not earlier, ask yourself: What motivates my character to act in one way or another? And ask yourself: What is the overall logic of this story? What caused my character to change? What were the various forces, whether inner or outer, that caused this change? Can I describe my character’s overall arc, from A to Z? Try to do that. Write a short paragraph. Then try to write down your summary in one sentence, called a log line in film script writing, but also a useful technique in fiction writing as well. If you write by the discovery method, you probably won’t want to do this in the midst of the drafting, but at least in the revision stage, you should consider doing so.

With a novel you may have a subplot or two. Assuming you will, you’ll need to decide how the plot and the subplot relate. Are they related enough to make one story? If you think the subplot is crucial for the telling of your tale, try to say why—in a paragraph, then in a sentence.

Here’s an article I wrote on structure for The Writer : https://www.writermag.com/improve-your-writing/revision-grammar/find-novels-structure/

Writing Fiction: Setting

Let’s move on to setting . Your novel has to take place somewhere. Where is it? Is it someplace that is particularly striking and calls for a lot of solid description? If it’s a wilderness area where your character is lost, give your reader a strong sense for the place. If it’s a factory job, and much of the story takes place at the worksite, again readers will want to feel they’re there with your character, putting in the hours. If it’s an apartment and the apartment itself isn’t related to the problems your character is having, then there’s no need to provide that much detail. Exception: If your protagonist concentrates on certain things in the apartment and begins to associate certain things about the apartment with their misery, now there’s reason to get concrete. Take a look, when you have a chance, at the short story “The Yellow Wall-Paper.” It’s not an apartment—it’s a house—but clearly the setting itself becomes important when it becomes important to the character. She reads the wallpaper as a statement about her own condition.

Here’s the URL for ”The Yellow Wall-Paper”: https://www.nlm.nih.gov/theliteratureofprescription/exhibitionAssets/digitalDocs/The-Yellow-Wall-Paper.pdf

Sometimes setting is pretty important; sometimes it’s much less important. When it doesn’t serve a purpose to describe it, don’t, other than to give the reader a sense for where the story takes place. If you provide very many details, even in a longer work like a novel, the reader will think that these details have some significance in terms of character, plot, or theme—or all three. And if they don’t, why are they there? If setting details are important, be selective. Provide a dominant impression. More on description below.

If you’re interested, here’s a blog on setting I wrote for Writers.com: https://writers.com/what-is-the-setting-of-a-story

Writing Fiction: Theme and Idea

Most literary works have a theme or idea. It’s possible to decide on this theme before you write, as you plan out your novel. But be careful here. If the theme seems imposed on the work, the novel will lose a lot of force. It will seem—and it may well be—engineered by the author much like a nonfiction piece, and lose the felt experience of the characters.

Theme must emerge from the work naturally, or at least appear to do so. Once you have a draft, you can certainly build ideas that are apparent in the work, and you can even do this while you’re generating your first draft. But watch out for overdoing it. Let the characters (what they do, what they say) and the plot (the whole storyline with its logical connections) contribute on their own to the theme. Also you can depend on metaphors, similes, and analogies to point to the theme—as long as these are not heavy-handed. Avoid authorial intrusion, authorial impositions of any kind. If you do end up creating a simile, metaphor, or analogy through rational thinking, make sure it sounds natural. That’s not easy, of course.

Writing Fiction: Handling Scenes

Keep a few things in mind about writing scenes. Not every event deserves a whole scene, maybe only a half-scene, a short interaction between characters. Scenes need to do two things: reveal character and advance plot. If a scene seems to stall out and lack interest, in the revision mode you might try using narrative summary instead (see below).

Good fiction is strongly dramatic, calling for scenes, many of them scenes with dialogue and action. Scenes need to involve conflict of some kind. If everyone is happy, that’s probably going to be a dull scene. Some scenes will be narrative, without dialogue. You need some interesting action to make these work.

Let’s consider scenes with dialogue.

The best dialogue is speech that sounds natural, and yet isn’t. Everything about fiction is an artifice, including speech. But try to make it sound real. The best way to do this is to “hear” the voices in your head and transcribe them. Take dictation. If you can do this, whole conversations will seem very real, believable. If you force what each character has to say, and plan it out too much, it will certainly sound planned out, and not real at all. Not that in the revision mode you can’t doctor up the speech here and there, but still, make sure it comes off as natural sounding.

Some things to think about when writing dialogue: people usually speak in fragments, interrupt each other, engage in pauses, follow up a question with a comment that takes the conversation off course (non sequiturs). Note these aspects of dialogue in the fiction you read.

Also, note how writers intersperse action with dialogue, setting details, and character thoughts. As far as the latter goes, though, if you’ll recall, I spoke of the dramatic point of view, which doesn’t get into a character’s mind but depends instead on what characters do and say, as in a play. You may try this point of view out in some scenes to make them really move.

One technique is to use indirect dialogue, or summary of what a character said, not in the character’s own words. For instance: Bill made it clear that he wasn’t going to the city after all. If anybody thought that, they were wrong .

Now and then you’ll come upon dialogue that doesn’t use the standard double quotes, but perhaps a single quote (this is British), or dashes, or no punctuation at all. The latter two methods create some distance from the speech. If you want to give your work a surreal quality, this certainly adds to it. It also makes it seem more interior.

One way to kill good dialogue is to make characters too obviously expository devices—that is, functioning to provide background or explanations of certain important story facts. Certainly characters can serve as expository devices, but don’t be too heavy-handed about this. Don’t force it like the following:

“We always used to go to the beach, you recall? You recall how first we would have breakfast, then take a long walk on the beach, and then we would change into our swimsuits, and spend an hour in the water. And you recall how we usually followed that with a picnic lunch, maybe an hour later.”

This sounds like the character is saying all this to fill the reader in on backstory. You’d need a motive for the utterance of all of these details—maybe sharing a memory?

But the above sounds stilted, doesn’t it?

One final word about dialogue. Watch out for dialogue tags that tell but don’t show . Here’s an example:

“Do you think that’s the case,” said Ted, hoping to hear some good news. “Not necessarily,” responded Laura, in a barky voice. “I just wish life wasn’t so difficult,” replied Ted.

If you’re going to use a tag at all—and many times you don’t need to—use “said.” Dialogue tags like the above examples can really kill the dialogue.

Writing Fiction: Writing Solid Prose

Narrative summary : As I’ve stated above, not everything will be a scene. You’ll need to write narrative summary now and then. Narrative summary telescopes time, covering a day, a week, a month, a year, or even longer. Often it will be followed up by a scene, whether a narrative scene or one with dialogue. Narrative summary can also relate how things generally went over a given period. You can write strong narrative summary if you make it specific and concrete—and dramatic. Also, if we hear the voice of the writer, it can be interesting—if the voice is compelling enough.

Exposition : It’s the first stage of the 5-stage plot structure, where things are set up prior to some sort of complication, but more generally, it’s a prose form which tells or informs. You use exposition when you get inside your character, dealing with his or her thoughts and emotions, memories, plans, dreams. This can be difficult to do well because it can come off too much like authorial “telling” instead of “showing,” and readers want to feel like they’re experiencing the world of the protagonist, not being told about this world. Still, it’s important to get inside characters, and exposition is often the right tool, along with narrative summary, if the character is remembering a sequence of events from the past.

Description : Description is a word picture, providing specific and concrete details to allow the reader to see, not just be told. Concreteness is putting the reader in the world of the five senses, what we call imagery . Some writers provide a lot of details, some only a few—just enough that the reader can imagine the rest. Consider choosing details that create a dominant impression—whether it’s a character or a place. Similes, metaphors, and analogies help readers see people and places and can make thoughts and ideas (the reflections of your character or characters) more interesting. Not that you should always make your reader see. To do so might cause an overload of images.

Check out these two articles: https://www.writermag.com/improve-your-writing/fiction/the-definitive-guide-to-show-dont-tell/ https://www.writermag.com/improve-your-writing/fiction/figurative-language-in-fiction/

Writing Fiction: Research

Some novels require research. Obviously historical novels do, but others do, too, like Sci Fi novels. Almost any novel can call for a little research. Here’s a short article I wrote for The Writer magazine on handling research materials. It’s in no way an in-depth commentary on research–but it will serve as an introduction. https://www.writermag.com/improve-your-writing/fiction/research-in-fiction/

For a blog on novel writing, check this link at Writers.com: https://writers.com/novel-writing-tips

For more articles I’ve published in The Writer , go here: https://www.writermag.com/author/jack-smith/

How to Start Writing Fiction: Take a Writing Class!

To write a story or even write a book, fiction writers need these tools first and foremost. Although there’s no comprehensive guide on how to write fiction for beginners, working with these elements of fiction will help your story bloom.

All six elements synergize to make a work of fiction, and like most works of art, the sum of these elements is greater than the individual parts. Still, you might find that you struggle with one of these elements, like maybe you’re great at writing characters but not very good with exploring setting. If this is the case, then use your strengths: use characters to explore the setting, or use style to explore themes, etc.

Getting the first draft written is the hardest part, but it deserves to be written. Once you’ve got a working draft of a story or novel and you need an extra set of eyes, the Writers.com community is here to give feedback: take a look at our upcoming courses on fiction writing, and check out our talented writing community .

Good luck, and happy writing!

I have had a story in my mind for over 15 years. I just haven’t had an idea how to start , putting it down on print just seems too confusing. After reading this article I’m even more confused but also more determined to give it a try. It has given me answers to some of my questions. Thank you !

You’ve got this, Earl!

Just reading this as I have decided to attempt a fiction work. I am terrible at writing outside of research papers and such. I have about 50 single spaced pages “written” and an entire outline. These tips are great because where I struggle it seems is drawing the reader in. My private proof reader tells me it is to much like an explanation and not enough of a story, but working on it.

first class

Nonfiction Books » Essays

The best essays: the 2021 pen/diamonstein-spielvogel award, recommended by adam gopnik.

WINNER OF the 2021 PEN/Diamonstein-Spielvogel Award for the Art of the Essay

Had I Known: Collected Essays by Barbara Ehrenreich

Every year, the judges of the PEN/Diamonstein-Spielvogel Award for the Art of the Essay search out the best book of essays written in the past year and draw attention to the author's entire body of work. Here, Adam Gopnik , writer, journalist and PEN essay prize judge, emphasizes the role of the essay in bearing witness and explains why the five collections that reached the 2021 shortlist are, in their different ways, so important.

Interview by Benedict King

Unfinished Business: Notes of a Chronic Re-Reader by Vivian Gornick

Nature Matrix: New and Selected Essays by Robert Michael Pyle

Terroir: Love, Out of Place by Natasha Sajé

Maybe the People Would be the Times by Luc Sante

The Best Essays: the 2021 PEN/Diamonstein-Spielvogel Award - Had I Known: Collected Essays by Barbara Ehrenreich

1 Had I Known: Collected Essays by Barbara Ehrenreich

2 unfinished business: notes of a chronic re-reader by vivian gornick, 3 nature matrix: new and selected essays by robert michael pyle, 4 terroir: love, out of place by natasha sajé, 5 maybe the people would be the times by luc sante.

W e’re talking about the books shortlisted for the 2021 PEN/Diamonstein-Spielvogel Award for the Art of the Essay . As an essayist yourself, or as a reader of essays, what are you looking for? What’s the key to a good essay ?

Let’s turn to the books that made the shortlist of the 2021 PEN Award for the Art of the Essay. The winning book was Had I Known: Collected Essays by Barbara Ehrenreich , whose books have been recommended a number of times on Five Books. Tell me more.

One of the criteria for this particular prize is that it should be not just for a single book, but for a body of work. One of the things we wanted to honour about Barbara Ehrenreich is that she has produced a remarkable body of work. Although it’s offered in a more specifically political register than some essayists, or that a great many past prize winners have practised, the quiddity of her work is that it remains rooted in personal experience, in the act of bearing witness. She has a passionate political point to make, certainly, a series of them, many seeming all the more relevant now than when she began writing. Nonetheless, her writing still always depends on the intimacy of first-hand knowledge, what people in post-incarceration work call ‘lived experience’ (a term with a distinguished philosophical history). Her book Nickel and Dimed is the classic example of that. She never writes from a distance about working-class life in America. She bears witness to the nature and real texture of working-class life in America.

“One point of giving awards…is to keep passing the small torches of literary tradition”

Next up of the books on the 2021 PEN essay prize shortlist is Unfinished Business: Notes of a Chronic Re-Reader by Vivian Gornick.

Vivian Gornick is a writer who’s been around for a very long time. Although longevity is not in itself a criterion for excellence—or for this prize, or in the writing life generally—persistence and perseverance are. Writers who keep coming back at us, again and again, with a consistent vision, are surely to be saluted. For her admirers, her appetite to re-read things already read is one of the most attractive parts of her oeuvre , if I can call it that; her appetite not just to read but to read deeply and personally. One of the things that people who love her work love about it is that her readings are never academic, or touched by scholarly hobbyhorsing. They’re readings that involve the fullness of her experience, then applied to literature. Although she reads as a critic, she reads as an essayist reads, rather than as a reviewer reads. And I think that was one of the things that was there to honour in her body of work, as well.

Is she a novelist or journalist, as well?

Let’s move on to the next book which made the 2021 PEN essay shortlist. This is Nature Matrix: New and Selected Essays by Robert Michael Pyle.

I have a special reason for liking this book in particular, and that is that it corresponds to one of the richest and oldest of American genres, now often overlooked, and that’s the naturalist essay. You can track it back to Henry David Thoreau , if not to Ralph Waldo Emerson , this American engagement with nature , the wilderness, not from a narrowly scientific point of view, nor from a purely ecological or environmental point of view—though those things are part of it—but again, from the point of view of lived experience, of personal testimony.

Let’s look at the next book on the shortlist of the 2021 PEN Awards, which is Terroir: Love, Out of Place by Natasha Sajé. Why did these essays appeal?

One of the things that was appealing about this book is that’s it very much about, in every sense, the issues of the day: the idea of place, of where we are, how we are located on any map as individuals by ethnic identity, class, gender—all of those things. But rather than being carried forward in a narrowly argumentative way, again, in the classic manner of the essay, Sajé’s work is ruminative. It walks around these issues from the point of view of someone who’s an expatriate, someone who’s an émigré, someone who’s a world citizen, but who’s also concerned with the idea of ‘terroir’, the one place in the world where we belong. And I think the dialogue in her work between a kind of cosmopolitanism that she has along with her self-critical examination of the problem of localism and where we sit on the world, was inspiring to us.

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Last of the books on the shortlist for the 2021 Pen essay award is Maybe the People Would Be the Times by Luc Sante.

Again, here’s a writer who’s had a distinguished generalised career, writing about lots of places and about lots of subjects. In the past, he’s made his special preoccupation what he calls ‘low life’, but I think more broadly can be called the marginalized or the repressed and abject. He’s also written acute introductions to the literature of ‘low life’, the works of Asbury and David Maurer, for instance.

But I think one of the things that was appealing about what he’s done is the sheer range of his enterprise. He writes about countless subjects. He can write about A-sides and B-sides of popular records—singles—then go on to write about Jacques Rivette’s cinema. He writes from a kind of private inspection of public experience. He has a lovely piece about tabloid headlines and their evolution. And I think that omnivorous range of enthusiasms and passions is a stirring reminder in a time of specialization and compartmentalization of the essayist’s freedom to roam. If Pyle is in the tradition of Thoreau, I suspect Luc Sante would be proud to be put in the tradition of Baudelaire—the flaneur who walks the streets, sees everything, broods on it all and writes about it well.

One point of giving awards, with all their built-in absurdity and inevitable injustice, is to keep alive, or at least to keep passing, the small torches of literary tradition. And just as much as we’re honoring the great tradition of the naturalist essay in the one case, I think we’re honoring the tradition of the Baudelairean flaneur in this one.

April 18, 2021

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Adam Gopnik

Adam Gopnik has been a staff writer at the New Yorker since 1986. His many books include A Thousand Small Sanities: The Moral Adventure of Liberalism . He is a three time winner of the National Magazine Award for Essays & Criticism, and in 2021 was made a chevalier of the Legion d'Honneur by the French Republic.

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The Best Reviewed Essay Collections of 2020

Featuring zadie smith, helen macdonald, claudia rankine, samantha irby, and more.

Zadie Smith’s Intimations , Helen Macdonald’s Vesper Flights , Claudia Rankine’s Just Us , and Samantha Irby’s Wow, No Thank You all feature among the Best Reviewed Essay Collections of 2020.

Brought to you by Book Marks , Lit Hub’s “Rotten Tomatoes for books.”

1. Vesper Flights by Helen Macdonald (Grove)

18 Rave • 3 Positive • 1 Mixed

Read Helen Macdonald on Sherlock Holmes, Ursula Le Guin, and hating On the Road here

“A former historian of science, Macdonald is as captivated by the everyday (ants, bird’s nests) as she is by the extraordinary (glowworms, total solar eclipses), and her writing often closes the distance between the two … Always, the author pushes through the gloom to look beyond herself, beyond all people, to ‘rejoice in the complexity of things’ and to see what science has to show us: ‘that we are living in an exquisitely complicated world that is not all about us’ … The climate crisis shadows these essays. Macdonald is not, however, given to sounding dire, all-caps warnings … For all its elegiac sentences and gray moods, Vesper Flights is a book of tremendous purpose. Throughout these essays, Macdonald revisits the idea that as a writer it is her responsibility to take stock of what’s happening to the natural world and to convey the value of the living things within it.”

–Jake Cline ( The Washington Post )

2. Intimations by Zadie Smith (Penguin)

13 Rave • 7 Positive • 3 Mixed

Listen to Zadie Smith read from Intimations here

“Smith…is a spectacular essayist—even better, I’d say, than as a novelist … Smith…get[s] at something universal, the suspicion that has infiltrated our interactions even with those we want to think we know. This is the essential job of the essayist: to explore not our innocence but our complicity. I want to say this works because Smith doesn’t take herself too seriously, but that’s not accurate. More to the point, she is willing to expose the tangle of feelings the pandemic has provoked. And this may seem a small thing, but it’s essential: I never doubt her voice on the page … Her offhandedness, at first, feels out of step with a moment in which we are desperate to feel that whatever something we are trying to do matters. But it also describes that moment perfectly … Here we see the kind of devastating self-exposure that the essay, as a form, requires—the realization of how limited we are even in the best of times, and how bereft in the worst.”

–David L. Ulin ( The Los Angeles Times )

3. Just Us: An American Conversation by Claudia Rankine (Graywolf)

11 Rave • 6 Positive • 5 Mixed

Read an excerpt from Just Us here

“ Just Us is about intimacy. Rankine is making an appeal for real closeness. She’s advocating for candor as the pathway to achieving universal humanity and authentic love … Rankine is vulnerable, too. In ‘lemonade,’ an essay about how race and racism affect her interracial marriage, Rankine models the openness she hopes to inspire. ‘lemonade’ is hard to handle. It’s naked and confessional, deeply moving and, ultimately, inspirational … Just Us , as a book, is inventive … Claudia Rankine may be the most human human I’ve ever encountered. Her inner machinations and relentless questioning would exhaust most people. Her labor should be less necessary, of course.”

–Michael Kleber-Diggs ( The Star Tribune )

4. Minor Feelings: An Asian American Reckoning by Cathy Park Hong (One World)

7 Rave • 10 Positive • 2 Mixed

Listen to an interview with Cathy Park Hong here

“Hong’s metaphors are crafted with stinging care. To be Asian-American, she suggests, is to be tasked with making an injury inaccessible to the body that has been injured … I read Minor Feelings in a fugue of enveloping recognition and distancing flinch … The question of lovability, and desirability, is freighted for Asian men and Asian women in very different ways—and Minor Feelings serves as a case study in how a feminist point of view can both deepen an inquiry and widen its resonances to something like universality … Hong reframes the quandary of negotiating dominance and submission—of desiring dominance, of hating the terms of that dominance, of submitting in the hopes of achieving some facsimile of dominance anyway—as a capitalist dilemma … Hong is writing in agonized pursuit of a liberation that doesn’t look white—a new sound, a new affect, a new consciousness—and the result feels like what she was waiting for. Her book is a reminder that we can be, and maybe have to be, what others are waiting for, too.”

–Jia Tolentino ( The New Yorker )

5. World of Wonders: In Praise of Fireflies, Whale Sharks, and Other Astonishments by Aimee Nezhukumatathil (Milkweed Editions)

11 Rave • 3 Positive

Read an excerpt from World of Wonders here

“In beautifully illustrated essays, poet Aimee Nezhukumatathil writes of exotic flora and fauna and her family, and why they are all of one piece … In days of old, books about nature were often as treasured for their illustrations as they were for their words. World of Wonders, American poet and teacher Aimee Nezhukumatathil’s prose ode to her muses in the natural world, is a throwback that way. Its words are beautiful, but its cover and interior illustrations by Fumi Mini Nakamura may well be what first moves you to pick it up in a bookstore or online … The book’s magic lies in Nezhukumatathil’s ability to blend personal and natural history, to compress into each brief essay the relationship between a biographical passage from her own family and the life trajectory of a particular plant or animal … Her kaleidoscopic observations pay off in these thoughtful, nuanced, surprise-filled essays.”

–Pamela Miller ( The Star Tribune )

6. Wow, No Thank You by Samantha Irby (Vintage)

10 Rave • 3 Positive • 1 Mixed

Watch an interview with Samantha Irby here

“Haphazard and aimless as she claims to be, Samantha Irby’s Wow, No Thank You is purposefully hilarious, real, and full of medicine for living with our culture’s contradictory messages. From relationship advice she wasn’t asked for to surrendering her cell phone as dinner etiquette, Irby is wholly unpretentious as she opines about the unspoken expectations of adulting. Her essays poke holes and luxuriate in the weirdness of modern society … If anyone whose life is being made into a television show could continue to keep it real for her blog reading fans, it’s Irby. She proves we can still trust her authenticity not just through her questionable taste in music and descriptions of incredibly bloody periods, but through her willingness to demystify what happens in any privileged room she finds herself in … Irby defines professional lingo and describes the mundane details of exclusive industries in anecdotes that are not only entertaining but powerfully demystifying. Irby’s closeness to financial and physical precariousness combined with her willingness to enter situations she feels unprepared for make us loyal to her—she again proves herself to be a trustworthy and admirable narrator who readers will hold fast to through anything at all.”

–Molly Thornton ( Lambda Literary )

7. Funny Weather: Art in an Emergency by Olivia Laing (W. W. Norton & Company)

5 Rave • 10 Positive • 3 Mixed • 1 Pan

“Yes, you’re in for a treat … There are few voices that we can reliably read widely these days, but I would read Laing writing about proverbial paint drying (the collection is in fact quite paint-heavy), just as soon as I would read her write about the Grenfell Tower fire, The Fire This Time , or a refugee’s experience in England, The Abandoned Person’s Tale , all of which are included in Funny Weather … Laing’s knowledge of her subjects is encyclopaedic, her awe is infectious, and her critical eye is reminiscent of the critic and author James Wood … She is to the art world what David Attenborough is to nature: a worthy guide with both a macro and micro vision, fluent in her chosen tongue and always full of empathy and awe.”

–Mia Colleran ( The Irish Times )

8. Conditional Citizens: On Belonging in America by Laila Lalami (Pantheon)

6 Rave • 7 Positive • 1 Mixed • 2 Pan

“A] searing look at the struggle for all Americans to achieve liberty and equality. Lalami eloquently tacks between her experiences as an immigrant to this country and the history of U.S. attempts to exclude different categories of people from the full benefits of citizenship … Lalami offers a fresh perspective on the double consciousness of the immigrant … Conditional citizenship is still conferred on people of color, women, immigrants, religious minorities, even those living in poverty, and Lalami’s insight in showing the subtle and overt ways discrimination operates in so many facets of life is one of this book’s major strengths.”

–Rachel Newcomb ( The Washington Post )

9. This is One Way to Dance by Sejal Shah (University of Georgia Press)

7 Rave • 2 Positive

Watch an interview with Sejal Shah here

“Shah brings important, refreshing, and depressing observations about what it means to have dark skin and an ‘exotic’ name, when the only country you’ve ever lived in is America … The essays in this slim volume are engaging and thought-provoking … The essays are well-crafted with varying forms that should inspire and enlighten other essayists … A particularly delightful chapter is the last, called ‘Voice Texting with My Mother,’ which is, in fact, written in texts … Shah’s thoughts on heritage and belonging are important and interesting.”

–Martha Anne Toll ( NPR )

10. Having and Being Had by Eula Biss (Riverhead)

5 Rave • 4 Positive • 4 Mixed

Read Eula Biss on the anticapitalist origins of Monopoly here

“… enthralling … Her allusive blend of autobiography and criticism may remind some of The Argonauts by Maggie Nelson, a friend whose name pops up in the text alongside those of other artists and intellectuals who have influenced her work. And yet, line for line, her epigrammatic style perhaps most recalls that of Emily Dickinson in its radical compression of images and ideas into a few chiseled lines … Biss wears her erudition lightly … she’s really funny, with a barbed but understated wit … Keenly aware of her privilege as a white, well-educated woman who has benefited from a wide network of family and friends, Biss has written a book that is, in effect, the opposite of capitalism in its willingness to acknowledge that everything she’s accomplished rests on the labor of others.”

–Ann Levin ( Associated Press )

The Book Marks System: RAVE = 5 points • POSITIVE = 3 points • MIXED = 1 point • PAN = -5 points

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25 Great Nonfiction Essays You Can Read Online for Free

Alison Doherty

Alison Doherty is a writing teacher and part time assistant professor living in Brooklyn, New York. She has an MFA from The New School in writing for children and teenagers. She loves writing about books on the Internet, listening to audiobooks on the subway, and reading anything with a twisty plot or a happily ever after.

View All posts by Alison Doherty

I love reading books of nonfiction essays and memoirs , but sometimes have a hard time committing to a whole book. This is especially true if I don’t know the author. But reading nonfiction essays online is a quick way to learn which authors you like. Also, reading nonfiction essays can help you learn more about different topics and experiences.

Besides essays on Book Riot, I love looking for essays on The New Yorker , The Atlantic , The Rumpus , and Electric Literature . But there are great nonfiction essays available for free all over the Internet. From contemporary to classic writers and personal essays to researched ones—here are 25 of my favorite nonfiction essays you can read today.

“Beware of Feminist Lite” by Chimamanda Ngozi Adichie

The author of We Should All Be Feminists writes a short essay explaining the danger of believing men and woman are equal only under certain conditions.

“It’s Silly to Be Frightened of Being Dead” by Diana Athill

A 96-year-old woman discusses her shifting attitude towards death from her childhood in the 1920s when death was a taboo subject, to World War 2 until the present day.

“Letter from a Region in my Mind” by James Baldwin

There are many moving and important essays by James Baldwin . This one uses the lens of religion to explore the Black American experience and sexuality. Baldwin describes his move from being a teenage preacher to not believing in god. Then he recounts his meeting with the prominent Nation of Islam member Elijah Muhammad.

“Relations” by Eula Biss

Biss uses the story of a white woman giving birth to a Black baby that was mistakenly implanted during a fertility treatment to explore racial identities and segregation in society as a whole and in her own interracial family.

“Friday Night Lights” by Buzz Bissinger

A comprehensive deep dive into the world of high school football in a small West Texas town.

“The Case for Reparations” by Ta-Nehisi Coates

Coates examines the lingering and continuing affects of slavery on American society and makes a compelling case for the descendants of slaves being offered reparations from the government.

“Why I Write” by Joan Didion

This is one of the most iconic nonfiction essays about writing. Didion describes the reasons she became a writer, her process, and her journey to doing what she loves professionally.

“Go Gentle Into That Good Night” by Roger Ebert

With knowledge of his own death, the famous film critic ponders questions of mortality while also giving readers a pep talk for how to embrace life fully.

“My Mother’s Tongue” by Zavi Kang Engles

In this personal essay, Engles celebrates the close relationship she had with her mother and laments losing her Korean fluency.

“My Life as an Heiress” by Nora Ephron

As she’s writing an important script, Ephron imagines her life as a newly wealthy woman when she finds out an uncle left her an inheritance. But she doesn’t know exactly what that inheritance is.

“My FatheR Spent 30 Years in Prison. Now He’s Out.” by Ashley C. Ford

Ford describes the experience of getting to know her father after he’s been in prison for almost all of her life. Bridging the distance in their knowledge of technology becomes a significant—and at times humorous—step in rebuilding their relationship.

“Bad Feminist” by Roxane Gay

There’s a reason Gay named her bestselling essay collection after this story. It’s a witty, sharp, and relatable look at what it means to call yourself a feminist.

“The Empathy Exams” by Leslie Jamison

Jamison discusses her job as a medical actor helping to train medical students to improve their empathy and uses this frame to tell the story of one winter in college when she had an abortion and heart surgery.

“What I Learned from a Fitting Room Disaster About Clothes and Life” by Scaachi Koul

One woman describes her history with difficult fitting room experiences culminating in one catastrophe that will change the way she hopes to identify herself through clothes.

“Breasts: the Odd Couple” by Una LaMarche

LaMarche examines her changing feelings about her own differently sized breasts.

“How I Broke, and Botched, the Brandon Teena Story” by Donna Minkowitz

A journalist looks back at her own biased reporting on a news story about the sexual assault and murder of a trans man in 1993. Minkowitz examines how ideas of gender and sexuality have changed since she reported the story, along with how her own lesbian identity influenced her opinions about the crime.

“Politics and the English Language” by George Orwell

In this famous essay, Orwell bemoans how politics have corrupted the English language by making it more vague, confusing, and boring.

“Letting Go” by David Sedaris

The famously funny personal essay author , writes about a distinctly unfunny topic of tobacco addiction and his own journey as a smoker. It is (predictably) hilarious.

“Joy” by Zadie Smith

Smith explores the difference between pleasure and joy by closely examining moments of both, including eating a delicious egg sandwich, taking drugs at a concert, and falling in love.

“Mother Tongue” by Amy Tan

Tan tells the story of how her mother’s way of speaking English as an immigrant from China changed the way people viewed her intelligence.

“Consider the Lobster” by David Foster Wallace

The prolific nonfiction essay and fiction writer travels to the Maine Lobster Festival to write a piece for Gourmet Magazine. With his signature footnotes, Wallace turns this experience into a deep exploration on what constitutes consciousness.

“I Am Not Pocahontas” by Elissa Washuta

Washuta looks at her own contemporary Native American identity through the lens of stereotypical depictions from 1990s films.

“Once More to the Lake” by E.B. White

E.B. White didn’t just write books like Charlotte’s Web and The Elements of Style . He also was a brilliant essayist. This nature essay explores the theme of fatherhood against the backdrop of a lake within the forests of Maine.

“Pell-Mell” by Tom Wolfe

The inventor of “new journalism” writes about the creation of an American idea by telling the story of Thomas Jefferson snubbing a European Ambassador.

“The Death of the Moth” by Virginia Woolf

In this nonfiction essay, Wolf describes a moth dying on her window pane. She uses the story as a way to ruminate on the lager theme of the meaning of life and death.

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The Case for Reading Fiction

Christine Seifert

It’s an easy way to build emotional intelligence.

When it comes to reading, we may be assuming that reading for knowledge is the best reason to pick up a book. Research, however, suggests that reading fiction may provide far more important benefits than nonfiction. For example, reading fiction predicts increased social acuity and a sharper ability to comprehend other people’s motivations. Reading nonfiction might certainly be valuable for collecting knowledge, it does little to develop EQ, a far more elusive goal.

Some of the most valuable skills that managers look for in employees are often difficult to define, let alone evaluate or quantify: self-discipline, self-awareness, creative problem-solving, empathy, learning agility, adaptiveness, flexibility, positivity, rational judgment, generosity, and kindness, among others. How can you tell if your future employees have these skills? And if your current team is lacking them, how do you teach them? Recent research in neuroscience suggests that you might look to the library for solutions; reading literary fiction helps people develop empathy , theory of mind , and critical thinking .

CS Christine Seifert is a professor of communication at Westminster College in Salt Lake City, Utah, where she teaches rhetoric, strategy, and professional writing

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Blog • Perfecting your Craft

Last updated on May 31, 2022

The 40 Best Books About Writing: A Reading List for Authors

For this post, we’ve scoured the web (so you don’t have to) and asked our community of writers for recommendations on some indispensable books about writing. We've filled this list with dozens of amazing titles, all of which are great — but this list might seem intimidating. So for starters, here are our top 10 books about writing:

On Writing by Stephen King
The Kick-Ass Writer by Chuck Wendig
Dreyer’s Englis h by Benjamin Dreyer
The Elements of Style by Strunk, White, and Kalman
The Story Grid by Shawn Coyne
A Swim in a Pond in the Rain by George Saunders
Bird by Bird by Anne Lamott
Mouth Full of Blood by Toni Morrison
How to Market a Book by Ricardo Fayet
On Writing Well by William Zinsser

But if you're ready to get into the weeds, here are 40 of our favorite writing books.

Books about becoming a writer

1. on writing by stephen king.

Perhaps the most-cited book on this list, On Writing is part-memoir, part-masterclass from one of America’s leading authors. Come for the vivid accounts of his childhood and youth — including his extended "lost weekend" spent on alcohol and drugs in the 1980s. Stay for the actionable advice on how to use your emotions and experiences to kickstart your writing, hone your skills, and become an author. Among the many craft-based tips are King’s expert takes on plot, story, character, and more.

From the book: “Amateurs sit and wait for inspiration, the rest of us just get up and go to work.”

2. The Kick-Ass Writer by Chuck Wendig

If you haven’t checked out Wendig’s personal blog, head over there now and bookmark it. Unfiltered, profane, and almost always right, Wendig’s become a leading voice among online writing communities in the past few years. In The Kick-Ass Writer , he offers over 1,000 pearls of wisdom for authors, ranging from express writing tips to guidance on getting published. Written to be read in short bursts, we’re sure he’d agree that this is the perfect bathroom book for writers.

From the book: “I have been writing professionally for a lucky-despite-the-number 13 years. Not once — seriously, not once ever — has anyone ever asked me where I got my writing degree… Nobody gives two ferrets fornicating in a filth-caked gym sock whether or not you have a degree… The only thing that matters is, Can you write well? ”

3. Find Your Voice by Angie Thomas

Taking advice from famous authors is not about imitation, but about finding your own voice . Take it from someone who knows: Thomas is the New York Times #1 Bestselling author of The Hate U Give , On the Come Up , and Concrete Rose . While she’s found her calling in YA literature , she has plenty of insight into finding your own voice in your genre of choice. Written in the form of a guided journal, this volume comes with step-by-step instructions, writing prompts, and exercises especially aimed at helping younger creatives develop the strength and skills to realize their vision.

From the book: “Write fearlessly. Write what is true and real to you.”

4. The Forest for the Trees by Betsy Lerner

Since its publication in 2000, The Forest for the Trees has remained an essential resource for authors at various stages in their careers. As an editor, Lerner gives advice not only on producing quality content, but also on how to build your career as an author and develop a winning routine — like how writers can be more productive in their creative process, how to get published , and how to publish well .

From the book: “The world doesn't fully make sense until the writer has secured his version of it on the page. And the act of writing is strangely more lifelike than life.”

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5. How to Write Like Tolstoy by Richard Cohen

From the book: “Great writers can be inhibiting, and maybe after one has read a Scott Fitzgerald or Henry James one can’t escape imitating them; but more often such writers are inspiring.”

6. Feel Free: Essays by Zadie Smith

Smith is well-known for her fiction, but she is also a prolific essay writer. In Feel Free , she has gathered several essays on recent cultural and political developments and combined them with experiences from her own life and career. In “The I Who Is Not Me”, she explores how her own lived experience comes into play in her fiction writing, and how she manages to extrapolate that to comment on contemporary social contexts, discussing race, class, and ethnicity.

From the book: “Writing exists (for me) at the intersection of three precarious, uncertain elements: language, the world, the self. The first is never wholly mine; the second I can only ever know in a partial sense; the third is a malleable and improvised response to the previous two.”

Books about language and style

7. dreyer’s english by benjamin dreyer.

A staple book about writing well, Dreyer’s English serves as a one-stop guide to proper English, based on the knowledge that Dreyer — a senior copy editor at Random House — has accumulated throughout his career. From punctuation to tricky homophones, passive voice, and commas, the goal of these tools should be to facilitate effective communication of ideas and thoughts. Dreyer delivers this and then some, but not without its due dosage of humor and informative examples.

From the book: “A good sentence, I find myself saying frequently, is one that the reader can follow from beginning to end, no matter how long it is, without having to double back in confusion because the writer misused or omitted a key piece of punctuation, chose a vague or misleading pronoun, or in some other way engaged in inadvertent misdirection.”

8. The Elements of Style (Illustrated) by William Strunk, Jr., E. B. White, and Maira Kalman

A perfect resource for visual learners, this illustrated edition of The Elements of Style has taken the classic style manual to a new, more accessible level but kept its main tenet intact: make every word tell. The written content by Strunk and White has long been referred to as an outline of the basic principles of style. Maira Kalman’s illustrations elevate the experience and make it a feast for both the mind and the eye.

From the book: “A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts.”

9. Sin and Syntax by Constance Hale

If you’re looking to bring a bit of spunk into your writing, copy editor Constance Hale may hold the key . Whether you’re writing a work-related email or the next rap anthem, she has one goal: to make creative communication available to everyone by dispelling old writing myths and making every word count. Peppered with writing prompts and challenges, this book will have you itching to put pen to paper.

From the book: “Verbose is not a synonym for literary.”

10. The Sense of Style by Steven Pinker

Combining entertainment with intellectual pursuit, Pinker, a cognitive scientist and dictionary consultant, explores and rethinks language usage in the 21st century . With illustrative examples of both great and not-so-great linguistic constructions, Pinker breaks down the art of writing and gives a gentle but firm nudge in the right direction, towards coherent yet stylish prose. This is not a polemic on the decay of the English language, nor a recitation of pet peeves, but a thoughtful, challenging, and practical take on the science of communication.

From the book: “Why is so much writing so bad, and how can we make it better? Is the English language being corrupted by texting and social media? Do the kids today even care about good writing—and why should we care?”

11. Eats, Shoots, & Leaves: The Zero Tolerance Approach to Punctuation by Lynne Truss

From the book: “A panda walks into a cafe. He orders a sandwich, eats it, then draws a gun and fires two shots in the air. "Why?" asks the confused waiter, as the panda makes towards the exit. The panda produces a badly punctuated wildlife annual and tosses it over his shoulder. "I'm a panda," he says, at the door. "Look it up." The waiter turns to the relevant entry and, sure enough, finds an explanation. Panda. Large black-and-white bear-like mammal, native to China. Eats, shoots and leaves.”

Books about story structure

12. save the cat by blake snyder.

Best known as a screenwriting manual, Save the Cat! is just as often named by authors as one of their most influential books about writing. The title comes from the tried-and-true trope of the protagonist doing something heroic in the first act (such as saving a cat) in order to win over the audience. Yes, it might sound trite to some — but others swear by its bulletproof beat sheet. More recently, there has been Save the Cat! Writes a Novel , which tailors its principles specifically to the literary crowd. (For a concise breakdown of the beat sheet, check this post out!)

From the book: “Because liking the person we go on a journey with is the single most important element in drawing us into the story.”

13. The Story Grid by Shawn Coyne

Shawn Coyne is a veteran editor with over 25 years of publishing experience, and he knows exactly what works and what doesn’t in a story — indeed, he’s pretty much got it down to a science. The Story Grid: What Good Editors Know outlines Coyne’s original “Story Grid” evaluation technique, which both writers and editors can use to appraise, revise, and ultimately improve their writing (in order to get it ready for publication). Coyne and his friend Tim Grahl also co-host the acclaimed Story Grid podcast , another great resource for aspiring writers.

From the book: “The Story Grid is a tool with many applications. It pinpoints problems but does not emotionally abuse the writer… it is a tool to re-envision and resuscitate a seemingly irredeemable pile of paper stuck in an attack drawer, and it can inspire an original creation.”

14. Story Structure Architect by Victoria Schmidt

For those who find the idea of improvising utterly terrifying and prefer the security of structures, this book breaks down just about every kind of story structure you’ve ever heard of. Victoria Schmidt offers no less than fifty-five different creative paths for your story to follow — some of which are more unconventional, or outright outlandish than others. The level of detail here is pretty staggering: Schmidt goes into the various conflicts, subplots, and resolutions these different story structures entail — with plenty of concrete examples! Suffice to say that no matter what kind of story you’re writing, you’ll find a blueprint for it in Story Structure Architect .

From the book: “When you grow up in a Westernized culture, the traditional plot structure becomes so embedded in your subconscious that you may have to work hard to create a plot structure that deviates from it… Understand this and keep your mind open when reading [this book]. Just because a piece doesn’t conform to the model you are used to, does not make it bad or wrong.”

15. The Writer's Journey by Christopher Vogler

Moving on, we hone in on the mythic structure. Vogler’s book, originally published in 1992, is now a modern classic of writing advice; though intended as a screenwriting textbook, its contents apply to any story of mythic proportions. In The Writer’s Journey: Mythic Structure for Writers , Vogler takes a page (literally) from Joseph Campbell’s Hero of a Thousand Faces to ruminate upon the most essential narrative structures and character archetypes of the writing craft. So if you’re thinking of drawing up an epic fantasy series full of those tropes we all know and love, this guide should be right up your alley.

From the book: “The Hero’s Journey is not an invention, but an observation. It is a recognition of a beautiful design… It’s difficult to avoid the sensation that the Hero’s Journey exists somewhere, somehow, as an external reality, a Platonic ideal form, a divine model. From this model, infinite and highly varied copies can be produced, each resonating with the essential spirit of the form.”

16. Story Genius by Lisa Cron

From the book: “We don't turn to story to escape reality. We turn to story to navigate reality.”

17. A Swim in a Pond in the Rain by George Saunders

More than just a New York Times bestseller and the winner of the Booker Prize, A Swim in a Pond in the Rain is a distillation of the MFA class on Russian short stories that Saunders has been teaching. Breaking down narrative functions and why we become immersed in a story, this is a must-read for anyone wanting to understand and nurture our continued need for fiction.

From the book: “We’re going to enter seven fastidiously constructed scale models of the world, made for a specific purpose that our time maybe doesn’t fully endorse but that these writers accepted implicitly as the aim of art—namely, to ask the big questions, questions like, How are we supposed to be living down here? What were we put here to accomplish? What should we value? What is truth, anyway, and how might we recognize it?”

Books about overcoming obstacles as a writer

18. bird by bird by anne lamott .

Like Stephen King’s book about writing craft, this work from acclaimed novelist and nonfiction writer Anne Lamott also fuses elements of a memoir with invaluable advice on the writer’s journey. Particularly known for popularizing the concept of “shitty first drafts”, Bird by Bird was recently recommended by editor Jennifer Hartmann in her Reedsy Live webinar for its outlook take on book writing. She said, “This book does exactly what it says it will do: it teaches you to become a better writer. [Lamott] is funny and witty and very knowledgeable.”

From the book: “Perfectionism is the voice of the oppressor, the enemy of the people. It will keep you cramped and insane your whole life, and it is the main obstacle between you and a shitty first draft.”

19. Take Off Your Pants by Libbie Hawker

From the book: “When it comes to the eternal quandary of pantsing or plotting, you can keep a foot in each camp. But if your goals will require you to write with speed and confidence, an effective outline will be your best friend.”

20. Writing into the Dark by Dean Wesley Smith

And for those who eschew structure altogether, we’ll now refer you to this title from profile science fiction author Dean Wesley Smith . Having authored a number of official Star Trek novels, he definitely knows what he’s talking about when he encourages writers to go boldly into the unknown with an approach to writing books that doesn’t necessarily involve an elaborate plan. It might not be your action plan, but it can be a fresh perspective to get out of the occasional writer’s block .

From the book: “Imagine if every novel you picked up had a detailed outline of the entire plot… Would you read the novel after reading the outline? Chances are, no. What would be the point? You already know the journey the writer is going to take you on. So, as a writer, why do an outline and then have to spend all that time creating a book you already know?”

21. No Plot, No Problem by Chris Baty

If you’re procrastinating to the point where you haven’t even started your novel yet, NaNo founder Chris Baty is your guy! No Plot, No Problem is a “low-stress, high-velocity” guide to writing a novel in just 30 days (yup, it’s great prep for the NaNoWriMo challenge ). You’ll get tons of tips on how to survive this rigorous process, from taking advantage of your initial momentum to persisting through moments of doubt . Whether you’re participating in everyone’s favorite November write-a-thon or you just want to bang out a novel that’s been in your head forever, Baty will help you cross that elusive finish line.

From the book: “A rough draft is best written in the steam-cooker of an already busy life. If you have a million things to do, adding item number 1,000,001 is not such a big deal.”

22. The 90-Day Novel by Alan Watt

And for those who think 30 days is a bit too steam cooker-esque, there’s always Alan Watt’s more laid-back option. In The 90-Day Novel , Watt provides a unique three-part process to assist you with your writing. The first part provides assistance in developing your story’s premise, the second part helps you work through obstacles to execute it, and the third part is full of writing exercises to unlock the “primal forces” of your story — aka the energy that will invigorate your work and incite readers to devour it like popcorn at the movies.

From the book: “Why we write is as important as what we write. Grammar, punctuation, and syntax are fairly irrelevant in the first draft. Get the story down… fast. Get out of your head, so you can surprise yourself on the page.”

23. The War of Art by Steven Pressfield

If you feel like you’re constantly in the trenches of your “inner creative battle,” The War of Art is the book for you. Pressfield emphasizes the importance of breaking down creative barriers — what he calls “Resistance” — in order to defeat your demons (i.e. procrastination, self-doubt, etc.) and fulfill your potential. Though some of his opinions are no doubt controversial (he makes repeated claims that almost anything can be procrastination, including going to the doctor), this book is the perfect remedy for prevaricating writers who need a little bit of tough love.

From the book: “Most of us have two lives. The life we live, and the unlived life within us. Between the two stands Resistance.”

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Books about writing as a lifestyle and career

24. steal like an artist by austin kleon.

As Kleon notes in the first section of Steal Like an Artist , this title obviously doesn’t refer to plagiarism. Rather, it acknowledges that art cannot be created in a vacuum, and encourages writers (and all other artists) to be open and receptive to all sources of inspiration. By “stealing like an artist,” writers can construct stories that already have a baseline of familiarity for readers, but with new twists that keep them fresh and exciting .

From the book: “If we’re free from the burden of trying to be completely original, we can stop trying to make something out of nothing, and we can embrace influence instead of running away from it.”

25. Mouth Full of Blood by Toni Morrison

From the book: “A writer's life and work are not a gift to mankind; they are its necessity.”

26. Writing Down the Bones by Natalie Goldberg

No matter what stage you’re at in your writing career, Goldberg’s Writing Down the Bones will help you write more skillfully and creatively. With suggestions, encouragement, and valuable advice on the many aspects of the writing craft, Goldberg doesn’t shy away from making the crucial connection between writing and adding value to your life. Covering a range of topics including taking notes of your initial thoughts, listening, overcoming doubt, choosing where to write, and the selection of your verbs, this guide has plenty to say about the minute details of writing, but excels at exploring the author life.

From the book: “Write what disturbs you, what you fear, what you have not been willing to speak about. Be willing to be split open.”

27. Zen in the Art of Writing by Ray Bradbury

What does it take to become a great author? According to the beloved writer Ray Bradbury , it takes zest, gusto, curiosity, as well as a spirit of adventure. Sharing his wisdom and experiences as one of the most prolific writers in America, Bradbury gives plenty of practical tips and tricks on how to develop ideas, find your voice, and create your own style in this thoughtful volume. In addition to that, this is also an insight into the life and mind of this prolific writer, and a celebration of the act of writing.

From the book: “Every morning I jump out of bed and step on a land mine. The land mine is me. After the explosion, I spend the rest of the day putting the pieces back together. Now, it's your turn. Jump!”

28. The Kite and the String by Alice Mattison

One of the most common dilemmas an author faces is the struggle between spontaneity and control. Literary endeavors need those unexpected light-bulb moments, but a book will never be finished if you rely solely on inspiration. In The Kite and the String , Mattison has heard your cry for help and developed a guide for balancing these elements throughout the different stages of writing a novel or a memoir. Sure, there may be language and grammar rules that govern the way you write, but letting a bit of playfulness breathe life into your writing will see it take off to a whole new level. On the other hand, your writing routine, solitude, audience, and goal-setting will act as the strings that keep you from floating too far away.

From the book: "Don’t make yourself miserable wishing for a kind of success that you wouldn’t enjoy if you had it."

29. How to Become a Successful Indie Author by Craig Martelle

This one’s for all the indie authors out there! Even if you’ve already self-published a book , you can still learn a lot from this guide by Craig Martelle , who has dozens of indie books — “over two and a half million words,” as he puts it — under his belt. With patience and expertise, Martelle walks you through everything you need to know: from developing your premise to perfecting your writing routine, to finally getting your work to the top of the Amazon charts.

From the book: “No matter where you are on your author journey, there’s always a new level you can reach. Roll up your sleeves, because it’s time to get to work.”

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30. How to Market a Book by Ricardo Fayet

From the book: “Here’s the thing: authors don’t find readers; readers find books . [...] Marketing is not about selling your book to readers. It’s about getting readers to find it.”

31. Everybody Writes by Ann Handley

The full title of Handley’s all-inclusive book on writing is actually Everybody Writes: Your Go-To Guide to Creating Ridiculously Good Content — which should tell you something about its broad appeal. Not only does Handley have some great ideas on how to plan and produce a great story, but she also provides tips on general content writing, which comes in handy when it’s time to build your author platform or a mailing list to promote your book. As such, Everybody Writes is nothing like your other books on novel writing — it’ll make you see writing in a whole new light.

From the book: “In our world, many hold a notion that the ability to write, or write well, is a gift bestowed on a chosen few. That leaves us thinking there are two kinds of people: the writing haves — and the hapless, for whom writing well is a hopeless struggle, like trying to carve marble with a butter knife. But I don’t believe that, and neither should you.”

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Books on writing poetry

32. madness, rack, and honey by mary ruefle.

With a long history of crafting and lecturing about poetry, Ruefle invites the reader of Madness, Rack, and Honey to immerse themselves into its beauty and magic. In a powerful combination of lectures and musings, she expertly explores the mind and craft of writers while excavating the magical potential of poetry. Often a struggle between giving and taking, poetry is, according to Ruefle, a unique art form that reveals the innermost workings of the human heart.

From the book: “In one sense, reading is a great waste of time. In another sense, it is a great extension of time, a way for one person to live a thousand and one lives in a single lifespan, to watch the great impersonal universe at work again and again”

33. Threads by Sandeep Parmar, Nisha Ramayya, and Bhanu Kapil

If you’re looking for something that explores the philosophical aspects of writing, Threads asks big questions about writing and the position of the writer in an industry that has largely excluded marginalized voices. Where does the writer exist in relation to its text and, particularly in the case of poetry, who is the “I”? Examining the common white, British, male lens, this collection of short essays will make it hard for you not to critically consider your own perceptions and how they affect your writing process.

From the book: “It is impossible to consider the lyric without fully interrogating its inherent promise of universality, its coded whiteness.”

34. The Hatred of Poetry by Ben Lerner

Despite its eye-catching title, this short essay is actually a defense of poetry . Lerner begins with his own hatred of the art form, and then moves on to explore this love-hate dichotomy that actually doesn’t seem to be contradictory. Rather, such a multitude of emotions might be one of the reasons that writers and readers alike turn to it. With its ability to evoke feelings and responses through word-play and meter, poetry has often been misconceived as inaccessible and elitist; this is a call to change that perception.

From the book: “All I ask the haters — and I, too, am one — is that they strive to perfect their contempt, even consider bringing it to bear on poems, where it will be deepened, not dispelled, and where, by creating a place for possibility and present absences (like unheard melodies), it might come to resemble love.”

35. Poemcrazy by Susan G. Wooldridge

If you’ve ever felt that the mysterious workings of poetry are out of your reach and expressly not for you, Wooldridge is here to tell you that anyone who wants to can write poetry . An experienced workshop leader, she will help you find your inner voice and to express it through the written word. Giving you advice on how to think, use your senses, and practice your writing, Wooldrige will have you putting down rhyme schemes before you know it.

From the book: “Writing a poem is a form of listening, helping me discover what's wrong or frightening in my world as well as what delights me.”

36. Writing Better Lyrics by Pat Pattison

From the book: “Don't be afraid to write crap — it makes the best fertilizer. The more of it you write, the better your chances are of growing something wonderful.”

Books about writing nonfiction

37. on writing well by william zinsser.

Going strong with its 30th-anniversary edition, On Writing Well: The Classic Guide to Writing Nonfiction is an evergreen resource for nonfiction writers which breaks down the fundamental principles of written communication. As a bonus, the insights and guidelines in this book can certainly be applied to most forms of writing, from interviewing to camp-fire storytelling. Beyond giving tips on how to stay consistent in your writing and voice, how to edit, and how to avoid common pitfalls, Zinsser can also help you grow as a professional writer, strengthening your career and taking steps in a new direction.

From the book: “Don’t try to visualize the great mass audience. There is no such audience—every reader is a different person.”

38. Essays by Lydia Davis

Ironically enough, this rather lengthy book is a celebration of brevity. As one of the leading American voices in flash-fiction and short-form writing, Davis traces her literary roots and inspirations in essays on everything, ranging from the mastodonic work of Proust to minimalism. In both her translations and her own writing, she celebrates experimental writing that stretches the boundaries of language. Playing with the contrast between what is said and what is not, this collection of essays is another tool to the writing shed to help you feel and use the power of every word you write.

From the book: “Free yourself of your device, for at least certain hours of the day — or at the very least one hour. Learn to be alone, all alone, without people, and without a device that is turned on. Learn to experience the purity of that kind of concentration. Develop focus, learn to focus intently on one thing, uninterrupted, for a long time.”

39. Essayism by Brian Dillon

In this volume, Dillon explores the often overlooked genre of essay writing and its place in literature’s past, present, and future. He argues that essays are an “experiment in attention” but also highlights how and why certain essays have directly impacted the development of the cultural and political landscape, from the end of the Middle Ages until the present day. At its heart, despite its many forms, subject areas, and purposes, essayism has its root in self-exploration. Dip in and out of Dillon’s short texts to find inspiration for your own nonfiction writing.

From the book: “What exactly do I mean, even, by 'style'? Perhaps it is nothing but an urge, an aspiration, a clumsy access of admiration, a crush.”

40. Naked, Drunk, and Writing by Adair Lara

From the book: “Write it down. Whatever it is, write it down. Chip it into marble. Type it into Microsoft Word. Spell it out in seaweeds on the shore. We are each of us an endangered species, delicate as unicorns.”

With a few of these books in your arsenal, you’ll be penning perfect plots in no time! And if you’re interested in learning more about the editing process, check these books on editing out as well!

ZUrlocker says:

11/03/2019 – 19:46

I'm familiar with several of these books. But for new authors, I urge you caution. It is very tempting to read so many books about writing that you never get around to writing. (I did this successfully for many years!) So I will suggest paring it down to just two books: Stephen King on Writing and Blake Snyder Save the Cat. Snyder's book is mostly about screenwriting, so you could also consider Save the Cat Writes a Novel by Jessica Brody. Best of luck!

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75 Of The Best Fiction Writing Prompts For All Writers

What separates the casual fiction writer from the professional one is the commitment to daily writing. But sometimes it’s more of a challenge to get the words flowing.

If nothing triggered you today, and if your mind is playing hopscotch with ideas, fiction writing prompts can get you past the brain block into full writing mode.

The following lists are fiction writing prompts for adults and realistic fiction writing prompts, and while there’s nothing NSFW ahead, the fiction writing ideas are best suited to books written for mature readers.

Here’s how to use these writing prompts:

Choose a prompt that inspires you to write.
Feel free to alter the writing idea to suit your creative writing needs.
View the prompt as an idea to kickstart your writing .
Begin writing and allow your ideas to flow and lead your writing wherever it might go.
Write as little or as much as you wish to prime your imaginative juices.
Don’t judge or critique what you’ve written — just enjoy the process.
Once you’ve completed the novel prompt writing, move on to your book writing , or use the prompt writing as part of a book you might decide to write.

75 Fiction Writing Prompts and Realistic Fiction Writing Prompts

Try one of these 75 fiction writing prompts to improve your creative writing . Some of these are realistic fiction writing prompts, while others have a more fantasy or mystery bent to them.

Choose the prompt that most inspires you, and start writing!

1. This superhero lives on the streets. While the people she saves are safe and warm, she wanders alone, exposed to the elements. She’s asexual, so she’s not looking for a mate, but she wouldn’t mind having someone to watch her back.

2. An unknown spacecraft has sent a rain of unknown elements into the atmosphere, and soon every flower that blooms releases a new, sentient being into the air. And they’re all connected — except for one, whose connection to the hive mind is severed somehow before the opening of his flower. All his fellow, winged warriors have a plan for the people of Earth; he’s the only one looking for a way to save them.

3. He promised me becoming a zombie wouldn’t change him. He had a solution that would preserve his personality and make it possible for him to protect those he loved..

4. A new modern apartment complex is now open, and you’re one of the first to apply for one of its one-bedroom luxury apartments. Less than a week after you move in, tenants start disappearing. Then someone leaves a gift basket at your door….

5. Someone leaves a package with a new, loaded smartphone and a cryptic note in your mailbox. That night, you get a call on that phone, and you answer it. A voice on the other end asks, “Ready to change your life?”

6. You get a chill from something while standing in a grocery store checkout line, and someone cries out and points a finger at you, backing away. “Did anyone else see that?” she asks in a panicky voice, grabbing her baby and heading out the door without her groceries.

7. You left the windows open last night to cool the house after a 90 degree summer day. You wake up to an icy chill and snow blowing in. You soon learn that a catastrophic event has brought on a new ice age. It just so happens you know something that could reverse the freeze before humans become extinct from exposure and starvation.

8. You love how you get when a creative idea takes hold of you, but your loved ones do not. In fact, one by one, they write you off, though you can’t remember why. Then, one evening, the unthinkable happens, and your latest creative idea takes on a life of its own.

9. Your friend just committed suicide, and soon after the funeral, the letters start coming, sent by someone who knew your friend and who (apparently) knows where you live. This someone blames you for your friend’s death, and she won’t stop until you pay for it.

10. Your best friend is suffering from a life-threatening allergic reaction, and there’s no epi pen. As his airways swell shut and his heart stops, there’s no one around to help, and you scream in desperation. That’s when you hear a sound in your own voice that you’ve never heard before. Seconds later, your friend gasps and scrambles to his feet, all signs of swelling gone.

11. Your fiance’s family has staged an intervention to bully you into changing your beliefs and teaching your children to embrace their way of life — and your fiance says nothing in your defense.

12. Your supermodel-thin friend barely survives a terrible car accident, but it changes her. The happy-go-lucky girl with the racecar metabolism and the hot boyfriend has morphed into a moody but more empathetic girl who quickly grows out of her wardrobe and becomes the target of cruel jokes.

13. A predatory classmate ends up dead in your backyard just hours after making unwanted advances to you in the school library. Part of him is missing.

14. Write a story from the point of view of the villain, but don’t reveal the narrator as the villain until the end.

Related: 15 Tips To Help You Write Better And Attract More Readers

15. On Valentine’s Day (which you never celebrate), you receive a surprise anonymous package with a box of licorice all-sorts. The slogan on the side of the box reads, “Everyone is somebody’s favorite.” The last person who called you his favorite died a year ago.

16. You go to sleep one night in an immaculate, luxury apartment and wake up in a small, dingy loft apartment that is full of stacks of newspapers and magazines, elaborately arranged to form the walls of a labyrinth.

17. You’re given the chance to go back in time to save the life of your best friend, but the price is a mission only you can carry out as the doppelganger of a mass murderer’s close confidant. Your mission is to make sure he takes a trip that will lead him into a trap.

18. You write a novel with a main character who has telepathic abilities. You start having dreams about this character, who wants you all to himself. His first token of affection is to punish your neighbor, who has openly criticized your book.

19. Your quirky, potty-mouthed Aunt Em has come to live with you, and the first thing she does is rearrange the kitchen and claim the role of chef and home renovator. You’re fine with it until she hires an assistant, who just happens to be the apartment manager’s recently fired son.

20. You inherit a house from an uncle but decide to rent it out rather than living in it. After interviewing several applicants, you agree to rent it to two brothers…

21. For as long as you can remember, every time you feel panicked, you’ve found yourself quietly singing “Jingle Bells.” You’re about to find out why, and it will change everything.

22. A homeless man is attacked in your neighborhood and sustains a serious head injury. You get him to the hospital, and they save his life, but upon his discharge from the hospital, he starts making money more quickly than you thought was even possible.

23. A stray animal shows up at your door — no tags or anything — and after feeding it, you decide to adopt it. That night, when a stranger comes to your door, you find out the animal is not what it appears to be.

24. You start taking a new dietary supplement you learned about from a late-night commercial, and it does everything it promised — and more.

25. You’re on your way home after work, and you see a strange light up ahead. You get closer, and you see what looks like a black hole about to swallow up your apartment complex. You look up to see your roommate on the balcony taking pictures of it.

26. You go to sleep alone and wake up very pregnant. After checking the calendar and vomiting a few times, you call in sick and schedule an appointment for an ultrasound. Then your boyfriend shows up.

27. A strange plant appears in your window planter, and when its solitary bloom opens, impossible things start happening.

28. You wake up a different gender but with similar facial features.

29. You visit your estranged father and learn some things about him that change the way you see yourself — and everyone else. Turns out, he keeps a low profile for a reason.

30. Your kid starts manifesting a strange, new ability (or no longer hiding it from you), and you know it’s just a matter of time before he attracts unwanted attention. And you’re afraid of what he can do to protect you both — and how it could change him.

31. You’ve always had freakishly good night vision, but with that comes an extreme sensitivity to light. You live like a mole, working overnight shifts and keeping the windows of your apartment covered in blackout curtains. You’ve even disabled the light switches. So, when a thief breaks in, you make him regret it. And it starts something.

32. Your eyes are brown with flecks of green that intensify when you get a sudden chill or come close to remembering something that changed you as a child. Someone notices the intense green in your eyes one day and calls you a freak. He looks familiar.

33. You discover an ability that puts you (more) at odds with your in-laws, and you learn of their plan to get your husband to divorce you and get full custody of your two children.

34. You sign up for a wine delivery service, and while the cases are always left at your door, things start changing in your house. Though you never drink to excess, you start losing chunks of time. And the wine is better than anything you’ve ever tasted.

35. You come home one day and find someone else living there who swears she’s lived there for years. When you look for proof that she’s lying, you find proof to the contrary.

36. You’re making your usual breakfast when you suddenly find you can’t stomach the thought of eating it. When you put a name to your new craving, it scares you. But it won’t go away.

Related: How to Outline A Nonfiction Book

37. You find a ring while walking in the park. The stones aren’t diamonds, and you at first suspect it’s a piece of junk jewelry from the previous night’s Halloween revels. But you like it enough to keep it. No one is more surprised than you when it saves your life.

38. An unknown relative shows up and tells you something you didn’t know about your mother’s family history — and the power that went with it.

39. You’ve started your NaNoWriMo project, and it’s off to a decent start. But when you open the file the next day, you see much more written for it, and the writing is terrible. Then you see that the story is still developing, and while the writing makes your head hurt, the story is drawing you in. Literally.

40. You go to your closet to get a change of clothes for the day before taking a shower, and you find a huge selection of designer clothes (tags still attached) that weren’t there before.

41. You sign up for a class at a local gym, and when you meet the instructor, she seems familiar — and not in a good way.

42. Your kid takes home a Chromebook from school, and one evening you see him staring at the screen, looking entranced. He takes a sudden interest in keeping his room immaculate and volunteering as a member of a new political candidate’s campaign staff.

43. You’ve just given birth to a surprisingly healthy baby two months before the due date, but your husband has inexplicably abandoned you both, and a generous stranger has learned of your situation and offered to help you out and fill the void.

44. Your mother shows up at your door asking for help. Something has taken residence at her home, and she doesn’t feel safe there anymore. You visit the house on your own, and find someone living there who asks, “Where did Mom go?”

45. You finally find a responsible roommate to share the cost of a new luxury apartment. The problem? He knows everything about you — and there’s no reason why he should.

46. You don’t remember the last time you slept for longer than an hour at a time, and you see things others don’t. The things you see that others don’t are causing accidents, and when you try to prevent one, you end up getting blamed for it.

47. Your 12-year-old daughter goes to use the bathroom at the hospital while you’re both visiting her older sister. When she comes back, she seems visibly unsettled, but that gives way to an eery calm and unshakable confidence that her sister will make a full recovery.

48. After experiencing your first nighttime paralysis, you start to see changes in your body. Soon, those changes will be impossible to hide, and a new acquaintance surprises you by making accurate guesses about what you’ve been going through.

49. When you’re about to kill a spider, your kid stops you, catches it, and runs outside to free it. You think maybe killing the non-native spider would have been kinder than putting it outside in the frost-covered grass, but your kid knows something you don’t.

50. It’s Halloween, and your neighbor dresses up as the president and tries to repair his reputation by volunteering at a homeless shelter. Unfortunately, the costume takes over, and he starts firing the other volunteers, one of whom decides to give their homeless guests a Halloween spectacle they won’t forget.

51. Your routine doctor appointment takes a sinister turn when your doc tells you he could put you higher on the waiting list for a liver transplant if you’d pay his ex a visit and help him set a trap for her.

52. Your new smartphone is so much faster than your old one — much faster than you expected from a discounted return. Then you start getting messages made up of symbols you don’t recognize. They resemble hieroglyphs.

53. You’re a high schooler, and today’s lunch is unexpectedly delicious — so delicious that you go back for the seconds. Someone in the kitchen is watching and writing in a notebook.

54. You’re constantly attracting unwanted attention, and you meet someone who knows why. It’s not just your looks that make you unignorable. You’re actually sending out a signal that those around you can’t help responding to. Your new acquaintance offers to train you, so you’ll make better use of your power.

55. You’re sick to death of the clutter in your house, and through a magazine ad, you meet someone who says he can give you the power to instantly transform any room to match a picture you can see in front of you or in your mind’s eye. The only price is one minute of memory from each day.

56. You win a two-week vacation in a real castle (somewhere overseas) with airfare, transportation, and meals, included — along with other surprises. One of them wants to make sure you never leave.

57. You move into a house that has a treehouse out back in one of the tallest, oldest trees. You don’t know until you explore it that the treehouse changes to better suit its occupant. The tree and its house have accepted you. But what does it expect of you?

58. You find an abandoned cabin that is perfect for use as a writer’s getaway, and after some preparations, you settle in for a two-week’ reprieve from city life. The animals aren’t as shy as you expect them to be, though, and they seem to know something about the cabin that you don’t.

59. Your car goes over the edge and down a steep hill. All you remember is the flash of light and the sound of glass breaking before you open your eyes. You check your kids, but none of them answer, and your phone, which had half a charge just minutes ago, is completely dead and unresponsive.

60. You’re shopping for a new computer, and you find one on eBay that the owner says was a gift that he used only briefly before he upgraded to a MacBook. You buy it and revel in its blinding speed and special features. It wakes you that night with a loud beep and prompts you with a single sentence on the screen, “Will you play with me?”

61. Chocolate and wine have gotten you through many a break-up, but this one is harder than most. You wonder why, and a gift from this SO stares you in the face, reminding you of how different your relationship was from those you’ve had with others..

62. Your neighbor has ordered furniture for you from IKEA, and you’re not sure how to deal with it. You love the couch, but you don’t have the budget for it, and you barely know your new neighbor, who seems to have unlimited funds but spends it unpredictably.

63. One of your aunts has died leaving you her pet ______, who helps you cut the toxic people out of your life by scaring them away. One of the few visitors this pet will tolerate is someone you’ve barely noticed but who intuitively knows about and anonymously meets the needs of others in the apartment building.

64. You go fishing in the lake behind your house, and when your hook catches on something, you pull it up. It turns out to be the body of a murder victim, and when the lake is further searched, other bodies are found. Twelve other houses surround the lake, and the police suspect you as much as any of the other residents.

65. You’re renovating your basement and remove a wall that was put in place by one of the previous owners. Behind it is a garbage bag full of cash, and when you examine it, you find it to be genuine.

66. Your spouse tells other Catholics that he knew you were the one when he found out your confirmation saint was the same saint he prayed to for a good Catholic wife. Meanwhile, you’re questioning beliefs you used to take for granted.

67. You wake up to the burglar alarm, and before you can see who has broken in, someone puts a pillowcase over your head and forces you up and out the door.

68. You get a job at your favorite coffee shop, and you meet some local authors, one of whom learns of your book and invites you to their group. They meet in what used to be the living room of a house rumored to be haunted.

69. You can barely make out how many fingers you’re holding up until an elderly neighbor with perfect eyesight shares a secret with you. But there’s a price to pay.

70. You go to sleep listening to static on your radio, which can’t pick up any AM stations. You find out one night, when your bladder wakes you up, that it’s picking up something other than static.

71. You bid on and win an old record player and record collection at an auction. You don’t expect the music to affect you as profoundly as it does and your family thinks you’re just trying to make up for the amount you spent on it. You’re not.

72. You get new glasses at the new eye clinic in town, and they allow you to see better than ever. In fact, when you want to, you can see minute detail from a great distance and microscopic detail up close. This is how you find out your sister’s mole is a malignant melanoma. You also avoid being poisoned by a spiteful coworker. Your fascination with frogs and your large collection of them has made close relationships a challenge.

73. You listen to an audio file designed to make you more creative, and you go into a trance and write a book that people the world over can’t get enough of. Then a visitor asks you if you listened to the entire recording. When you admit to having stopped the recording before it was finished, the visitor smiles in relief and tells you not to listen to the end and to delete the file.

74. When a favorite aunt dies, you inherit a bookstore with an apartment on the upper floor. You look at the finances and realize you have to let go of one of your three employees.

75. You check out a house you like and find moths in every room. The realtor tells you it shouldn’t be a problem to get rid of them but that the house is completely free of other pests — including spiders (which are a huge problem in the area). You buy the house.

Did you enjoy these realistic fiction writing prompts?

Keep this list handy whenever you need a writing prompt to unlock your creativity and kickstart your daily writing.

In fact, you may find ideas for several novels or stories that you can write down the road. Take one of these ideas and begin to flesh out an outline and characters for your story. Let your imagination take you on a journey that may lead to your bestselling book!

Here are 75 Writing Prompts to Inspire Your Book Ideas. fantasy writing prompts | daily writing prompts | fiction writing prompts | creative writing prompts | #writing #writingtips #writingcommunity #writingprompts #writinginspiration #author #amwriting #selfpublishing

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An England Of The Imagination: The Small Town Weirdness Of Jean Ray

Jean Ray never visited the UK, but the stories he set there, like *The City of Unspeakable Fear*, offer up an eerie glimpse of its future, finds Robert Davidson

In Iain Sinclair’s 1994 novel Radon Daughters , a rag-tag band of vagabonds, led by the x-ray addicted writer Sileen, go in search of the manuscript of the supposed sequel to The House on The Borderland , a slim psychically charged novella that felt more like a visitation than a book when it was published in 1908.

Sinclair charts the scattered mythos of its author, William Hope Hodgson, who met his end like so many men in the stodge of Flanders Field in 1918 at the age of 40. In his novel, Sinclair pens a curt obituary to the writer, “ blown to pieces at the Forward Observation Post in Ploegsteert. Lights out, he became light ”.

Like the titular supernatural building in the House on The Borderland , in Sinclair’s poetic reconstruction Hope Hodgson’s body ceases to exist in one dimension and seeps into a myriad of others – boarding one of his own interdimensional ghost ships that sails through what Sinclair calls “ universal water ” where “ death is the passport ”.

Sileen would ultimately come to grasp the sought manuscript for a tantalisingly brief moment before it’s summarily lost again. But before it disappears a stray epiphany permeates Sileen’s radiation-fried mind; what if the manuscript isn’t a sequel but a prequel? The manuscript could be its own sort of map, cartographic prose that leads to the house that slipped into light. One could go further still and wonder if it wasn’t simply a map – but a blueprint.

Twenty-five years after Hope Hodgson’s death in 1943, twentieth-century Belgian fantastique writer Jean Ray published Malpertuis ; a dark, dense, and defective novel. Its parallels with House on the Borderland are immediate, with its plot centred on its own supernatural house. In this instance, a stately Flemish manor house left behind by an avuncular occult scientist to his unsuspecting family. A wretched building only lifted from darkness when celestial spirits happen to express their thoughts in light. A house that could be seen to be in close communication with Hope Hodgson’s construction.

The complex and self-mythologising Ray, dubbed the ‘Belgian Edgar Allen Poe’ in his day, lived almost his entire life in the medieval port city of Ghent. He was raised in a district next to a haven called the Ham, a crumbling corner of the city that strikes a resemblance to Ratcliffe in the Docklands. Despite this, his influences were predominantly British, with Ray’s stories routinely set in England, in particular London. His multi-dimensional stories feature allusions to Charles Dickens, Geoffrey Chaucer, and of course Hope Hodgson, and his knowledge of British history, geography, and occult fascinations appears, at times, to be on a par with Sinclair himself. Most impressively this all seems to have been achieved without ever visiting England, with no documentation existing that he crossed the North Sea. Ray’s England is one strictly of the imagination.

This makes the appearance of his second novel The City of Unspeakable Fear , set in provincial England, all the more intriguing. Its publication by American independent Wakefield Press marks the first time it has been translated into English since its publication ninety years ago, dutifully translated from the original French by long-time Jean Ray translator Scott Nicolay.

Originally released only eight days after Malpertuis in 1943, the basic plot of The City of Unspeakable Fear , like most of Ray’s writings, is deceptively simple. Sidney Terence Trigger (or Triggs as he’s mostly called), a former Scotland Yard officer who’s less interested in crime and more interested in calligraphy, retires to Ingersham, a quaint fictional town somewhere in Southeast England. Bequeathed a home by a former boss, Triggs seeks to settle into Ingersham’s “beautiful tranquillity” but is instead quickly sucked into a town-wide mystery.

The sheltered townspeople of Ingersham, who have “not seen London, nor care for Paris”, await a “great fear” to strike the town, a fear foretold by their parents and grandparents. As a flurry of apparitions, deaths, and suicides plague the close-knit community, the populace devolves into a hotbed of confusion and terror as apocalyptical storms turn dykes into rivers and cast the market square into unerring darkness. Subsumed by the madness of the town, Triggs is forced to take on a detective role he feels ill-suited for – with his presence sensed by some as the catalyst for the malady that has struck the community.

However, beyond the growing body count and the hunt for its perpetrator, the continued tension of this book is the overlap between folkloric fear and modern paranoia. Ingersham stands on the precipice of being unable to comprehend the “silent assault of the invisible” that has befallen it. A town of candles in a world of electricity. A town where as Ray puts it, “tradition is the basis of eternal laws” . Befuddled by replicas, fakes, and counterfeit operations that run concurrently to the impending “great fear”, Ingersham is lost in a sea of threats and symbols that it cannot contend.

Ingersham’s ostentatious mayor Mr. Chadburn, in a moment of frustration at his limited powers to gain assistance, laments the town’s “stupid aversion to modernism … we have neither telephones nor rapid transport here” . Mr. Chadburn’s eyes then immediately glimpse a pentagram that had been sketched into the belly of the town hall to ward off a ghost that supposedly haunts it.

This pervasive intermingling of the primitive and the advanced establishes the fault-line in the town’s soul that remains opaque to the reader, feeling different if one reads the novel in sunlight or in twilight. Even the book’s composition, which appropriates Chaucer’s The Canterbury Tales frame narrative, feels ill-equipped to keep track of the rapidly advancing invasion abducting the town’s psyche.

The destruction of a town and its traditions by an unknowable wave of modernity, however, mirrors Ray’s own existence in Ghent at the time of the book’s publication. In 1943, Belgium was still under Nazi occupation and Ray was made to work directly with the occupiers, with his job to find accommodation for visiting German officers. The quotidian blurring of reality and pretence would have been its own balancing act with the potential to corrode any distinction one might recognise between what was real and what was fake, what was wrong and what was survival.

The people of Ingersham, like the people of Ghent would have been in the middle of a triangulation that brought together science, superstition, and the supernatural in an unholy trinity. Therefore it feels like no accident that Ray snuck the name of his own Ham into the final syllable of the fictional English town.

This fascination with the competing forces behind consensus war-time reality would occupy many American post-war writers, eventually culminating in Thomas Pynchon’s twisted 1973 masterpiece Gravity’s Rainbow . Joseph Heller’s infamous line in Catch-22 , “just because you’re paranoid doesn’t mean they’re not after you” , feels like it resonates with a fearful Ingersham townswoman when she blusters to Triggs that “just because you can’t see them, doesn’t mean they don’t exist” .

In the recognition that the bumps and ghostly visions that we associate with the domestic night, could too be played out en masse in society’s light, Ray perhaps did craft something of the sequel that Sileen in Sinclair’s Radon Daughters sought. The residential blueprint that became an entire development. An inter-dimensional house that became an inter-dimensional town – soon perhaps to become an inter-dimensional world. A capturing of the moment when the invisibility and replicability of the modern abducted our understanding of the present – or better yet how the logic of the ghost became the soul of the modern.

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Essay on Books for Students and Children

500 Words Essay on Books

Books are referred to as a man’s best friend . They are very beneficial for mankind and have helped it evolve. There is a powerhouse of information and knowledge. Books offer us so many things without asking for anything in return. Books leave a deep impact on us and are responsible for uplifting our mood.

This is why we suggest children read books from an early age to gain knowledge. The best part about books is that there are various types of books. One can read any type to gain different types of knowledge. Reading must be done by people of all ages. It not only widens our thinking but also enhances our vocabulary.

Different Genres of Books

There are different genres of books available for book readers. Every day, thousands of books are released in the market ranging from travel books to fictional books. We can pick any book of our interest to expand our knowledge and enjoy the reading experience.

Firstly, we have travel books, which tell us about the experience of various travelers. They introduce us to different places in the world without moving from our place. It gives us traveling tips which we can use in the future. Then, we have history books which state historical events. They teach about the eras and how people lived in times gone by.

Furthermore, we have technology books that teach us about technological developments and different equipment. You can also read fashion and lifestyle books to get up to date with the latest trends in the fashion industry.

Most importantly, there are self-help books and motivational books . These books help in the personality development of an individual. They inspire us to do well in life and also bring a positive change in ourselves. Finally, we have fictional books. They are based on the writer’s imagination and help us in enhancing our imagination too. They are very entertaining and keep us intrigued until the very end.

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Benefits of Reading Books

There are not one but various advantages of reading books. To begin with, it improves our knowledge on a variety of subjects. Moreover, it makes us wiser. When we learn different things, we learn to deal with them differently too. Similarly, books also keep us entertained. They kill our boredom and give us great company when we are alone.

Furthermore, books help us to recognize our areas of interest. They also determine our career choice to a great extent. Most importantly, books improve our vocabulary . We learn new words from it and that widens our vocabulary. In addition, books boost our creativity. They help us discover a completely new side.

In other words, books make us more fluent in languages. They enhance our writing skills too. Plus, we become more confident after the knowledge of books. They help us in debating, public speaking , quizzes and more.

In short, books give us a newer perspective and gives us a deeper understanding of things. It impacts our personality positively as well. Thus, we see how books provide us with so many benefits. We should encourage everyone to read more books and useless phones.

FAQs on Books

Q.1 State the different genres of books.

A.1 Books come in different genres. Some of them are travel books, history books, technology books, fashion and lifestyle books, self-help books, motivational books, and fictional books.

Q.2 Why are books important?

A.2 Books are of great importance to mankind. They enhance our knowledge and vocabulary. They keep us entertained and also widen our perspective. This, in turn, makes us more confident and wise.

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The Best Fantasy and Sci-Fi Books of 2024, So Far

Yearning for a new world? New stories from Heather Fawcett, Nisi Shawl, Danielle L. Jensen, Sofia Samatar, and more can get you there.

the covers of emily wildes map of the otherlands, the fox wife, kinning, and the jinn daughter lined up together

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The books that got me into books were fantasies. There was never a time in my life—post-infantile amnesia, I suppose—when I wasn’t reading a fantasy, being read a fantasy, or trying to write one myself. (Usually all three.) The same goes for science fiction: These were the types of stories that made reading feel limitless, thrilling, like peeking through a keyhole to a vaster (if not necessarily kinder) universe. As I’ve grown older, my reading habits have expanded, my understanding of genre widened, but well-executed fantasy and sci-fi remains my deepest source of literary joy. So it’s a pleasure to present ELLE’s picks for the best of those genres in 2024—through May, for now.

For the purposes of this list, speculative stories will be considered science fiction, while fairy tales, folktales, and mythological retellings will fall under the vast and complicated banner of “fantasy.” Romantasys will fall into this category as well. (You can find our other romance recommendations here .) There’s plenty of genre overlap ahead, but that’s the joy of these books—there’s always something (seemingly) contradictory to explore within them.

Beautyland by Marie-Helene Bertino

Within moments of cracking open the cover to Marie-Helene Bertino’s Beautyland , I was sold. She has followed up her 2020 novel Parakeet with a landmark work of literary science-fiction, set in the crosshairs of “two celestially significant events occurring simultaneously: The departure of Voyager 1 and the arrival of Adina Giorno, early and yellowed like old newspaper,” the author writes. As the Voyager 1 space probe sets its sights on the final frontier, so does the child Adina make a home for herself on Earth. But she is, in many ways, no less foreign to the planet than Voyager 1 is to the outer galaxy: Adina discovers that she’s been sent by her extraterrestrial relatives to report back her earthly findings, all via fax machine. (“Upon encountering real problems, human beings compare their lives to riding a roller coaster, even though they invented roller coasters to be fun things to do on their days off,” Adina notes in one such missive.) This is a wonder of science fiction: as tender and intimate as it is conceptually courageous.

Emily Wilde's Map of the Otherlands by Heather Fawcett

The eagerly awaited follow-up to Heather Fawcett’s first title in the popular Emily Wilde series, Emily Wilde’s Map of the Otherlands is a winsome tale of fairies and academia, an ideal pick for fans of cozy fantasy. Set in 1910, the story follows the titular Emily, a faerie scholar who’s completed an encyclopedia of Fair Folk and is working next on a map of the creatures’ realms. But her relationship with the exiled faerie king Wendell Bambleby promises to complicate much more than her research, particularly as she and Bambleby hunt for the door back to his kingdom—and attempt to dodge his family’s assassination attempts. Clever, immersive, yet approachable for more casual readers, Map of the Otherlands is a genre-blending joy.

So Let Them Burn by Kamilah Cole

An inventive, vivid take on the Chosen One narrative, Kamilah Cole’s So Let Them Burn is the sort of young-adult fantasy novel both teenage and maturer readers will enjoy—particularly given Cole’s knack for juggling action-heavy dual perspectives. The premise involves 17-year-old Falon, whose ability to wield the power of the gods provides the strength she’ll need to liberate the island of San Irie from the colonizing forces of the Langlish. But her sister has unexpectedly bonded with a dragon from the Langley Empire, and when those dragons turn feral, the gods inform Falon she must eradicate them—and those bonded to them. Desperate to save each other, Falon and Elara flesh out this tale from alternating third-person perspectives in Cole’s exhilarating first entry in a promised series.

Womb City by Tlotlo Tsamaase

In Tlotlo Tsamaase’s future Botswana, consciousness can be delivered from body to body, making the life of protagonist Nelah possible. Her body used to belong to a criminal, which means the government has her microchipped: Her husband can control her, and the government can watch and assess her every move. Nelah is waiting for her child—gestating in an artificial womb—to arrive, but before that can happen, she and the man she’s in love with (a man who’s very much not her husband) commit a dangerous crime. The resulting fallout haunts Nelah (sometimes literally) in this sci-fi horror novel’s resolute skewering of misogyny.

Kinning by Nisi Shawl

The next entry in Nisi Shawl’s anti-colonial alternative history series, the second after Everfair , Kinning is a profoundly well-realized feat of world-building. Sprawling in its characters and themes, vaguely reminiscent of Game of Thrones’ political dramas, Shawl’s afrofuturist sequel explores the aftermath of Everfair’s Great War, the country having successfully pushed Europe out of the territory. Citizens plan to spread further peace via a fungus that generates empathy in those who interact with its spores, even as Everfair itself remains threatened from outside and within its borders. This is a complex, challenging story, but without question an impressive one.

Faebound by Saara El-Arifi

Faebound —with its simply stunning cover—takes place in a world where elves, humans, and fae once co-existed, but now only elves remain, and they’re eternally at war. Sisters Yeeran and Lettle soon find their lives bifurcated by the fighting: Yeeran is exiled outside the Elven Lands, and Lettle must pair up with one of Yeeran’s soldiers, Rayan, to find her lost sibling. Only then do they each discover that the fae are alive and well, and that the magic in store for them is well beyond what they’d once expected. This is a passionate and intriguing—but accessible—beginning to a planned Sapphic romantasy trilogy.

The Tainted Cup by Robert Jackson Bennett

The Tainted Cup is the beginning chapter of Robert Jackson Bennett’s Shadow of the Leviathan series, and it imbues elements from myriad genres—primarily fantasy, sci-fi, and mysteries—to create a delicious detective story set in an equally unforgettable magical world. In Bennett’s Khanum, where massive leviathans threaten the world outside the empire’s walls, an imperial officer is murdered in an aristocrat’s summer home. Two detectives, Ana and Din, must tackle this mystery. Together, they make something of an odd couple: Ana’s brilliance rivals that of Sherlock Holmes himself, while Din is a magically enhanced “engraver,” one with a perfect memory. These lead protagonists’ platonic partnership, and Bennett’s remarkable imagination, make this book a strange and singular thrill.

Bride by Ali Hazelwood

There’s an intentional silliness to Ali Hazelwood’s paranormal romance Bride , in which the vampires are “Vampyres,” the werewolves are “Weres,” the protagonist is named Misery, and her marriage of convenience to a “very powerful and dangerous Were” might actually be...something more? But this on-the-nose humor, a signature in Hazelwood’s work, only serves to underscore the shameless indulgence of Misery’s story. Bride will certainly not enrapture all fantasy readers (particularly those wishing to avoid sex scenes), but for Hazelwood’s many existing fans, this surprise genre twist from the contemporary romance author has plenty of winks to impart.

Heartless Hunter by Kristen Ciccarelli

Heartless Hunter , an instant New York Times bestseller, has already amassed a sizable (and passionate) audience, but it’s certainly not too late to pick up this addictive romantasy, which tracks the love affair between a persecuted witch and a witch hunter. Protagonist Rune comes from privilege, but after a revolution seizes power from the once-ruling witches, she’s now hiding in plain sight: socialite by day, witch vigilante by night. (Alias: The Crimson Moth.) Working to protect her people from witch hunters, she decides to court one of them; he, in return, agrees to the relationship to gain intel about her operations. But just as their fake relationship blooms into something deeper, their political ties could easily break them apart. Relentlessly trope-y? Sure. But this is a satisfying binge-read nonetheless.

Sunbringer by Hannah Kaner

Hannah Kaner follows up the first book in her Fallen Gods series, Godkiller , with Sunbringer , set immediately after the events of its predecessor. Brilliant mythology-inspired world-building paves the foundation for Kaner’s fantasy adventure, but it’s the fully realized ensemble cast that, ultimately, makes the series so memorable. In Sunbringer , Kissen, Inara, Skediceth, Elogast, and King Arren trade third-person perspectives as a war between gods and humans bubbles into the foreground in Middren, seeding fertile ground for an epic showdown to come.

The Fox Wife by Yangsze Choo

“Foxes, people say, are wicked women,” Yangsze Choo writes in her historical fantasy The Fox Wife , set in early-1900s Manchuria as the Qing dynasty wanes. Choo (author of The Ghost Bride and The Night Tiger ) introduces readers to Snow, a fox spirit who can shapeshift into a woman, and Detective Bao, who believes Snow is connected to a murder. But Snow, living as a human and working as a maidservant, has her own mission in mind: She wants revenge against the photographer who paid a hunter to murder her daughter. Folklore and mystery converge in Choo’s alluring, atmospheric tale.

A Fate Inked in Blood by Danielle L. Jensen

I know better than to buy a book based solely on its character art, but there’s no denying the cover of Danielle L. Jensen’s A Fate Inked In Blood (illustrated by Eleonor Piteira) merits the attention. Blessedly, the book’s inside contents are just as richly rendered. The latest story from fantasy stalwart Jensen ( The Bridge Kingdom series, The Dark Shores series), Fate centers on Freya, a young woman trapped in a loveless marriage—loveless enough that her husband betrays her, setting off a series of events that culminates in a shocking reveal: The blood of a goddess runs in Freya’s veins. That blood makes her powerful, but it also makes her a target for Skaland’s jarl, who believes his fate is tied to Freya’s. Still, it’s this jarl’s son, Bjorn, who will prove the most complicating factor in Freya’s fight for survival. This is an absorbing viking romantasy steeped in Norse mythology, and the start to a series with real momentum.

The Siege of Burning Grass by Premee Mohamed

“They locked him up while his leg grew back.” So begins The Siege of Burning Grass , Premee Mohamed’s ferocious story of violence and resistance in a world of wound-healing wasps and floating cities. Protagonist Alefret is a peacemaker—or, anyway, he’s trying to be—but he’s since been targeted and imprisoned by his own government, then ordered to go undercover in the rival empire of Med’ariz. There, he’s tasked with seeding an anti-war effort amongst the people, an effort which Alefret’s government aims to capitalize on—and claim victory at last. But revolutions are costly in more ways than one, and Mohamed navigates these nuances with empathy and righteous verve.

The Prisoner’s Throne by Holly Black

As a childhood enthusiast of The Spiderwick Chronicles , I’ve loved watching Holly Black’s fantasy career evolve, and her conclusion to the Stolen Heir duology, The Prisoner’s Throne , is a treat for old fans and newcomers alike. In the fairy world of Elfhame, Black has created a entertaining tableau of political intrigue and romance—most notably between High King Cardan and High Queen Jude (iykyk). And as war beckons in The Prisoner’s Throne , the imprisoned Prince Oak finds his loyalties (and his love) stretched to the brink.

Annie Bot by Sierra Greer

One of my most anticipated reads of the spring, Sierra Greer’s feminist sci-fi Annie Bot is much as I’d hoped it would be: frightening but measured, referential but fresh. The titular Annie is indeed a robot—a Stella model coded as a Cuddle Bunny, to be exact—designed for use by Doug, who’s customized her into a near-mirror image of his ex. She does housework; she does...other things. She can set her internal body temperature and read Doug’s annoyance rankings. He can set her libido levels. (“A four’s good,” he says. “She’s, like, ready at a four, but not actively assertive.”) As Annie notes early in the novel, “I only exist because I’m wanted.” These themes are certainly not new, but it’s how Greer writes this mash-up of Ex Machina , Her , Westworld , and The Stepford Wives that makes its tension resonate so loudly, even if it’s meant more as an allegory of women’s liberation than a treatise on the threats of AI. A quick read, but one you won’t soon wipe from memory.

Those Beyond the Wall by Micaiah Johnson

Although set in the same universe as her debut, The Space Between Worlds , Micaiah Johnson’s Those Beyond the Wall is set 10 years after the events of the former, and can be read as a standalone. (But you should definitely read The Space Between Worlds .) This clear-eyed, undaunted sci-fi saga introduces readers to a woman who goes by the name of Mr. Scales, a street-savvy “runner” living outside the walls of the gleaming Wiley City, in a far poorer desert community known as Ashtown. After she witnesses a friend’s gruesome death, she follows the breadcrumb trail to the multiverse-hopping technology residing inside Wiley City. But to stop this tech (and its users) from destroying the people of Ashtown, she’ll need to rely on more than her own wits. Gritty and raw, this is a fine work of dystopian fiction, one sure to chafe and unsettle as much as it thrills.

I Cheerfully Refuse by Leif Enger

To start, what an absolutely fabulous title. Peace Like A River author Leif Enger’s latest is so much more than its cheeky cover; in fact, it might be one of the most optimistic post-apocalyptic novels you’ll ever read, if also one of the more unusual. In Enger’s imagined near-future America, the president is proudly illiterate, pandemics and wildfires are growing by the hour, and an entirely new class of billionaires known as “astronauts” are happy to watch from above as the plebs flee their now-closed schools for solace in drugs and government labor. But protagonist Rainey does not see the end of the world as a black hole, especially when he looks to his wife, Lark, who runs a bookstore in spite of the enormous risk inherent in doing so. It is his unflappable faith in goodness that leads him, much like Orpheus, to sail Lake Superior in search of Lark when a visitor unexpectedly tears them apart. This is a triumphant, generous work of art—neither cloying nor nihilist.

The Familiar by Leigh Bardugo

Ninth House, Hell Bent, and Six of Crows author Leigh Bardugo steps into the Spanish Golden Age for a fantasy remarkably unlike her previous works. The Familiar is a stunning accomplishment, set in 16th-century Madrid, where the Inquisition haunts Luzia Cotado, an orphaned “not quite Spanish” scullion with a hidden talent for magic—and Jewish blood that puts her at imminent risk. When her mistress discovers Luzia’s unique skillset, she puts them to use, attracting the attention of the king’s secretary and his familiar, the immortal Guillén Santángel. With Santángel’s help, Luzia might just be able to survive—or even thrive—but, as any fantasy reader can tell you, power always has its consequences.

A Sweet Sting of Salt by Rose Sutherland

A Sweet Sting of Salt is an altogether entrancing retelling of the traditional folktale “The Selkie Wife,” in which a man steals a selkie’s skin and forces her to become his wife. (Selkies, as a refresher, are mythological creatures who take the form of seals in the ocean and humans on land.) In Sting , the selkie in question is discovered by midwife Jean Langille on the coast of 19th century Nova Scotia, where she’s wracked with birthing pains. Jean helps deliver the woman’s child, and soon surmises this mysterious stranger is Muirin, the wife of her fisherman neighbor, Tobias. But Tobias and Muirin are clearly hiding some sort of secret, and as Jean slowly realizes she’s falling in love with Muirin, so too must she face the danger that threatens them both should their relationship continue. A beautifully written Sapphic fantasy, Sutherland’s debut announces her as a writer to watch.

The Jinn Daughter by Rania Hanna

Rania Hanna’s debut novel The Jinn Daughter is a lush and mesmerizing story of motherhood and magic, its influences pulled from Middle Eastern mythology. Protagonist Nadine has a daughter, Layala, whom she’ll do anything to protect. But Nadine is also a jinn, one who tells the stories of the dead through the pomegranate seeds she collects each morning. Soon, Death herself arrives on Nadine’s doorstep—she has come for Nadine’s half-jinn daughter Layala, whom Death wants to replace her as the underworld’s ruler. This is not a fate Nadine can accept for Layala, and so a fight for her daughter’s life commences. This is a short but sweeping story of a mother’s unrelenting devotion.

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Lists. Works of Pure Genius. 691 books — 782 voters. Social Justice: Books on Racism, Sexism, and Class. 2,012 books — 1,479 voters. Black Women: Biography, Autobiography, Personal Essays, and Memoir (nonfiction) 325 books — 37 voters. Non Fiction/Memoirs by Women of Color. 344 books — 52 voters.
25 of the Best Free Nonfiction Essays Available Online
Besides essays on Book Riot, I love looking for essays on The New Yorker, The Atlantic, The Rumpus, and Electric Literature. But there are great nonfiction essays available for free all over the Internet. From contemporary to classic writers and personal essays to researched ones—here are 25 of my favorite nonfiction essays you can read today.
The Surprising Power of Reading Fiction: 9 Benefits
Fiction is a uniquely powerful way to understand others, tap into creativity and exercise your brain. The next time you feel even a tiny bit guilty for picking up a work of fiction instead of a self-help book, consider these 9 benefits of reading fiction. 1. Empathy: Imagining creates understanding.
The Case for Reading Fiction
The Case for Reading Fiction. by. Christine Seifert. March 06, 2020. cintascotch/Getty Images. Summary. When it comes to reading, we may be assuming that reading for knowledge is the best reason ...
The 40 Best Books About Writing: A Reading List for Authors
So for starters, here are our top 10 books about writing: On Writing by Stephen King. The Kick-Ass Writer by Chuck Wendig. Dreyer's Englis h by Benjamin Dreyer. The Elements of Style by Strunk, White, and Kalman. The Story Grid by Shawn Coyne. A Swim in a Pond in the Rain by George Saunders. Bird by Bird by Anne Lamott.
The Importance of Reading Fiction
11. I am going to begin this article by posing an argument: reading fiction is important. Everyone can agree that reading is an important component in developing a successful life. Consuming ...
75 Of The Best Fiction Writing Prompts For All Writers
Try one of these 75 fiction writing prompts to improve your creative writing. Some of these are realistic fiction writing prompts, while others have a more fantasy or mystery bent to them. Choose the prompt that most inspires you, and start writing! 1. This superhero lives on the streets.
17 Book Review Examples to Help You Write the Perfect Review
Examples of genre fiction book reviews Karlyn P reviews Nora Roberts' Dark Witch, a paranormal romance novel, on Goodreads: 4 stars. Great world-building, weak romance, but still worth the read. I hesitate to describe this book as a 'romance' novel simply because the book spent little time actually exploring the romance between Iona and Boyle ...
Readers' experiences of fiction and nonfiction influencing critical
Popular science book on genetics: K: Fiction: Sci-fi, Literary Fiction, Classics: Science fiction novel: L: Nonfiction: Science, Biography, Professional: Design article on chairs: M: ... (e.g. 'for dummies' books, satirical essays, how-to guides), and emphasised the need for broad reading. This implies value in a wide range of both fiction ...
An England Of The Imagination: The Small Town Weirdness Of Jean Ray
In Iain Sinclair's 1994 novel Radon Daughters, a rag-tag band of vagabonds, led by the x-ray addicted writer Sileen, go in search of the manuscript of the supposed sequel to The House on The Borderland, a slim psychically charged novella that felt more like a visitation than a book when it was published in 1908.. Sinclair charts the scattered mythos of its author, William Hope Hodgson, who ...
Funny Books: NPR's Readers Pick The Best : NPR
As far as NYU professor Rachel Chu knows, her boyfriend, Nick Young, is reasonably well-off. But when she agrees to spend the summer with him back home in Singapore, she discovers his family owns ...
Essay on Books for Students and Children
A.1 Books come in different genres. Some of them are travel books, history books, technology books, fashion and lifestyle books, self-help books, motivational books, and fictional books. Q.2 Why are books important? A.2 Books are of great importance to mankind.
The 60 Best Nonfiction Books of All Time
If you needed the inspiration to keep writing, this is one of the best nonfiction books for you. 36. Persepolis by Marjane Satrapi. Buy on Amazon. Add to library. Marjane Satrapi's Persepolis is an immersive graphic memoir based on the author's childhood in the Iranian capital of Tehran during the Islamic Revolution.
25 Best Fiction Books of 2023 (So Far)
15. Only Love Can Hurt Like This by Paige Toon. Release date: April 25, 2023. If you prefer fiction books with a heaping helping of romance (or love anything from Colleen Hoover or Laura Jane ...
Amazon.com: Books
Amazon.com Books has the world's largest selection of new and used titles to suit any reader's tastes. Find best-selling books, new releases, and classics in every category, from Harper Lee's To Kill a Mockingbird to the latest by Stephen King or the next installment in the Diary of a Wimpy Kid children's book series. Whatever you are looking for: popular fiction, cookbooks, mystery ...
The 29 Best Fantasy and Science Fiction Books of 2024, So Far
Here are the best new fantasy and sci-fi books to read in 2024, from authors including Heather Fawcett, Nisi Shawl, Danielle L. Jensen, and Sofia Samatar.
Weekend Edition Saturday for May 11, 2024 : NPR
Love, NPR. by Scott Simon. 2 min. Searching for a song you heard between stories? We've retired music buttons on these pages. Learn more here. Browse archive or search npr.org. Hear the Weekend ...