creative writing how to books

The 20+ Best Books on Creative Writing

If you’ve ever wondered, “How do I write a book?”, “How do I write a short story?”, or “How do I write a poem?” you’re not alone. I’m halfway done my MFA program at Vermont College of Fine Arts , and I ask myself these questions a lot, too, though I’m noticing that by now I feel more comfortable with the answers that fit my personal craft. Fortunately, you don’t need to be a Master’s of Fine Arts in Writing candidate, or even a college graduate, in order to soak up the great Wisdom of Words, as I like to call it. Another word for it is craft . That’s because there are so many great books out there on writing craft. In this post, I’ll guide you through 20+ of the most essential books on creative writing. These essential books for writers will teach you what you need to know to write riveting stories and emotionally resonant books—and to sell them.

I just also want to put in a quick plug for my post with the word count of 175 favorite novels . This resource is helpful for any writer.

Now, with that done… Let’s get to it!

What Made the List of Essential Books for Writers—and What Didn’t

So what made the list? And what didn’t?

Unique to this list, these are all books that I have personally used in my journey as a creative and commercial writer.

That journey started when I was 15 and extended through majoring in English and Creative Writing as an undergrad at UPenn through becoming a freelance writer in 2014, starting this book blog, pursuing my MFA in Writing for Children and Young Adults at Vermont College of Fine Arts , and publishing some fiction and nonfiction books myself . My point here is not to boast, just to explain that these books have all helped me better understand and apply the craft, discipline, and business of writing over the course of more than half my life as I’ve walked the path to become a full-time writer. Your mileage my vary , but each of these books have contributed to my growth as a writer in some way. I’m not endorsing books I’ve never read or reviewed. This list comes from my heart (and pen!).

Most of these books are geared towards fiction writers, not poetry or nonfiction writers

It’s true that I’m only one human and can only write so much in one post. Originally, I wanted this list to be more than 25 books on writing. Yes, 25 books! But it’s just not possible to manage that in a single post. What I’ll do is publish a follow-up article with even more books for writers. Stay tuned!

The most commonly recommended books on writing are left out.

Why? Because they’re everywhere! I’m aiming for under-the-radar books on writing, ones that aren’t highlighted often enough. You’ll notice that many of these books are self-published because I wanted to give voice to indie authors.

But I did want to include a brief write-up of these books… and, well, you’ve probably heard of them, but here are 7 of the most recommended books on writing:

The Artist’s Way by Julia Cameron – With her guided practice on how to rejuvenate your art over the course of 16 weeks, Cameron has fashioned an enduring classic about living and breathing your craft (for artists as well as writers). This book is perhaps best known for popularizing the morning pages method.

The Art of Fiction by John Gardner – If you want to better understand how fiction works, John Gardner will be your guide in this timeless book.

Bird by Bird by Anne Lamott – A beloved writing book on process, craft, and overcoming stumbling blocks (both existential and material).

On Writing by Stephen King – A must-read hybrid memoir-craft book on the writer mythos and reality for every writer.

Reading Like a Writer by Francine Prose – A core writing book that teaches you how to read with a writer’s eye and unlock the ability to recognize and analyze craft for yourself.

Steering the Craft by Ursula K. Le Guin – Many writers consider this to be their bible on craft and storytelling.

Writing Down the Bones: Freeing the Writer Within by Natalie Goldberg – A favorite of many writers, this book takes an almost spiritual approach to the art, craft, and experience of writing.

I’m aiming for under-the-radar books on writing on my list.

These books are all in print.

Over the years, I’ve picked up several awesome books on creative writing from used bookstores. Oh, how I wish I could recommend these! But many of them are out of print. The books on this list are all available new either as eBooks, hardcovers, or paperbacks. I guess this is the right time for my Affiliate Link disclaimer:

This article contains affiliate links, which means I might get a small portion of your purchase. For more on my affiliate link policy, check out my official Affiliate Link Disclaimer .

You’ll notice a lot of the books focus on the business of writing.

Too often, money is a subject that writers won’t talk about. I want to be upfront about the business of writing and making a living as a writer (or not ) with these books. It’s my goal to get every writer, even poets!, to look at writing not just from a craft perspective, but from a commercial POV, too.

And now on to the books!

Part i: the best books on writing craft, the anatomy of story by john truby.

For you if: You want to develop an instinctive skill at understanding the contours of storytelling .

All I want to do as a writer, my MO, is tell good stories well. It took me so long to understand that what really matters to me is good storytelling. That’s it—that’s the essence of what we do as writers… tell good stories well. And in The Anatomy of Story , legendary screenwriting teacher John Truby takes you through story theory. This book is packed with movie references to illustrate the core beat points in story, and many of these example films are actually literary adaptations, making this a crossover craft book for fiction writers and screenwriters alike.

How to read it: Purchase The Anatomy of Story on Amazon and add it on Goodreads

The art of memoir by mary karr.

For you if: You’re writing a memoir book or personal essays .

Nobody is a better person to teach memoir writing than Mary Karr, whose memoirs The Liar’s Club and Lit are considered classics of the genre. In The Art of Memoir , Karr delivers a master class on memoir writing, adapted from her experience as a writer and a professor in Syracuse’s prestigious MFA program. What I love about this book as an aspiring memoirist is Karr’s approach, which blends practical, actionable advice with more bigger-picture concepts on things like truth vs. fact in memoir storytelling. Like I said in the intro to this list, I didn’t include many nonfiction and poetry books on this list, but I knew I had to make an exception for The Art of Memoir .

How to read it: Purchase The Art of Memoir on Amazon and add it on Goodreads

The emotional craft of fiction by donald maass.

For you if: Plot isn’t your problem, it’s character .

From literary agent Donald Maass, The Emotional Craft of Fiction gives you the skill set you need to master emotionally engaging fiction. Maass’s technique is to show you how readers get pulled into the most resonant, engaging, and unforgettable stories: by going through an emotional journey nimbly crafted by the author. The Emotional Craft of Fiction is a must-have work of craft to balance more plot-driven craft books.

How to read it: Purchase the The Emotional Craft of Fiction on Amazon and add it on Goodreads

How to Write Using the Snowflake Method by Randy Ingermanson

For you if: You need a quick-and-dirty plotting technique that’s easy to memorize .

I first heard of the “Snowflake Method” in the National Novel Writing Month forums (which, by the way, are excellent places for finding writing craft worksheets, book recommendations, and online resources). In How to Write a Novel Using the Snowflake Method , the Snowflake Method is introduced by its creator. This quick yet thorough plotting and outlining structure is humble and easy to master. If you don’t have time to read a bunch of books on outlining and the hundreds of pages that would require, check out How to Write a Novel Using the Snowflake Method for a quick, 235-page read.

How to read it: Purchase How to Write a Novel Using the Snowflake Method on Amazon and add it on Goodreads

Meander, spiral, explode: design and pattern in narrative by jane alison.

For you if: You want to do a deep dive understanding of the core theory of story, a.k.a. narrative.

A most unconventional writing craft book, Meander, Spiral, Explode offers a theory of narrative (story) as recognizable patterns. According to author Jane Alison, there are three main narrative narratives in writing: meandering, spiraling, and exploding. This cerebral book (chock full of examples!) is equal parts seminar on literary theory as it is craft, and it will make you see and understand storytelling better than maybe any book on this list.

How to read it: Purchase Meander, Spiral, Explode on Amazon and add it on Goodreads

The modern library writer’s workshop by stephen koch.

For you if: You’re wondering what it means to be the writer you want to become .

This is one of the earliest creative writing books I ever bought and it remains among the best I’ve read. Why? Reading The Modern Library Writer’s Workshop echoes the kind of mind-body-spirit approach you need to take to writing. The Modern Library Writer’s Workshop doesn’t teach you the nuts and bolts of writing as much as it teaches you how to envision the machine. Koch zooms out to big picture stuff as much as zeroes in on the little details. This is an outstanding book about getting into the mindset of being a writer, not just in a commercial sense, but as your passion and identity. It’s as close as you’ll get to the feel of an MFA in Fiction education.

How to read it: Purchase The Modern Library Writer’s Workshop on Amazon and add it on Goodreads

Romancing the beat by gwen hayes.

For you if: You write or edit the romance genre and want a trusted plotting strategy to craft the perfect love story .

If you’re writing romance, you have to get Gwen Hayes’s Romancing the Beat . This book breaks down the plot points or “beats” you want to hit when you’re crafting your romance novel. When I worked as a romance novel outliner (yes, a real job), our team used Romancing the Beat as its bible; every outline was structured around Hayes’s formula. For romance writers (like myself) I cannot endorse it any higher.

How to read it: Purchase Romancing the Beat on Amazon and add it on Goodreads

Save the cat writes a novel by jessica brody.

For you if: You have big ideas for a plot but need to work on the smaller moments that propel stories .

Jessica Brody’s Save the Cat! Writes a Novel adapts Blake Snyder’s bestselling screenwriting book Save the Cat! into story craft for writing novels. Brody reworks the Save the Cat! methodology in actionable, point-by-point stages of story that are each explained with countless relevant examples. If you want to focus your efforts on plot, Save the Cat! Writes a Novel is an excellent place to go to start learning the ins and outs of what makes a good story.

How to read it: Purchase Save the Cat! Writes a Novel on Amazon and add it on Goodreads

Story genius by lisa cron.

For you if: You’re a pantser and are terrified at outlining yet also realize you might have a “plot problem .”

More than any other book, Lisa Cron’s Story Genius will get you where you need to go for writing amazing stories. Story Genius helps you look at plotting differently, starting from a point of characterization in which our protagonists have a clearly defined need and misbelief that play off each other and move the story forward from an emotional interior and action exterior standpoint. For many of my fellow MFA students—and myself— Story Genius is the missing link book for marrying plot and character so you innately understand the contours of good story.

How to read it: Purchase Story Genius on Amazon and add it on Goodreads

Wonderbook: the illustrated guide to creating imaginative fiction by jeff vandermeer.

For you if: You’re writing in a speculative fiction genre—like science fiction, fantasy, or horror—or are trying to better understand those genres.

Jeff VanderMeer’s Wonderbook is a dazzling gem of a book and a can’t-miss-it writing book for sci-fi, fantasy, and horror writers. This book will teach you all the skills you need to craft speculative fiction, like world-building, with micro-lessons and close-reads of excellent works in these genres. Wonderbook is also one to linger over, with lavish illustrations and every inch and corner crammed with craft talk for writing imaginative fiction (sometimes called speculative fiction). And who better to guide you through this than Jeff VanderMeer, author of the popular Southern Reach Trilogy, which kicks off with Annihilation , which was adapted into a feature film.

How to read it: Purchase Wonderbook on Amazon and add it on Goodreads

Writing picture books by ann whitford paul.

For you if: You’re looking to write picture books and/or understand how they work .

This book is the only one you need to learn how to write and sell picture books. As an MFA student studying children’s literature, I’ve consulted with this book several times as I’ve dipped my toes into writing picture books, a form I considered scary and intimidating until reading this book. Writing Picture Books should be on the shelf of any writer of children’s literature. a.k.a. “kid lit.”

How to read it: Purchase Writing Picture Books on Amazon and add it on Goodreads

Writing with emotion, conflict, and tension by cheryl st. john.

For you if: You need to work on the conflict, tension, and suspense that keep readers turning pages and your story going forward .

Mmm, conflict. As I said earlier, it’s the element of fiction writing that makes a story interesting and a key aspect of characterization that is underrated. In Writing with Emotion, Tension, and Conflict , bestselling romance author Cheryl St. John offers a masterclass on the delicate dance between incorporating conflict, the emotions it inspires in characters, and the tension that results from those two factors.

How to read it: Purchase Writing with Emotion, Tension, and Conflict on Amazon and add it on Goodreads

Part ii: the best books on the productivity, mfas, and the business of writing, 2k to 10k: writing faster, writing better, and writing more of what you love by rachel aaron.

For you if: You struggle to find the time to write and always seem to be a chapter or two behind schedule .

If you’re struggling to find time of your own to write with competing obligations (family, work, whatever) making that hard, you need Rachel Aaron’s 2k to 10k . This book will get you in shape to go from writing just a few words an hour to, eventually, 10,000 words a day. Yes, you read that right. 10,000 words a day. At that rate, you can complete so many more projects and publish more. Writers simply cannot afford to waste time if they want to keep up the kind of production that leads to perpetual publication. Trust me, Aaron’s method works. It has for me. I’m on my way to 10k in the future, currently at like 4 or 5k a day for me at the moment.

How to read it: Purchase 2k to 10k on Amazon and add it on Goodreads

The 3 a.m. epiphany by brian kitele.

For you if: You’re going through writer’s block, have been away from writing for a while, or just want to loosen up and try something new .

Every writer must own an an exercise or prompt book. Why? Because regularly practicing your writing by going outside your current works-in-progress (or writer’s block) will free you up, help you plant the seeds for new ideas, and defrost your creative blocks. And the best book writing exercise book I know is The 3 A.M. Epiphany by Brian Kiteley, an MFA professor who uses prompts like these with his grad students. You’ll find that this book (and its sequel, The 4 A.M. Breakthrough ) go beyond cutesy exercises and forces you to push outside your comfort zone and learn something from the writing you find there.

How to read it: Purchase The 3 A.M. Epiphany on Amazon and add it on Goodreads

The 4-hour workweek by timothy ferriss.

For you if: You think being a writer means you have to be poor .

The 4-Hour Workweek changed my life. Although not strictly about writing in the traditional sense, The 4-Hour Workweek does an excellent job teaching you about how passive income can offer you freedom. I first heard about The 4-Hour Workweek when I was getting into tarot in 2013. On Biddy Tarot , founder Brigit (author of some of the best books on tarot ) related how she read this book, learned how to create passive income, and quit her corporate job to read tarot full time. As a person with a total and permanent disability, this spoke to me because it offered a way out of the 9-to-5 “active” income that I thought was the only way. I picked up Ferriss’s book and learned that there’s more than one option, and that passive income is a viable way for me to make money even when I’m too sick to work. I saw this come true last year when I was in the hospital. When I got out, I checked my stats and learned I’d made money off my blog and books even while I was hospitalized and couldn’t do any “active” work. I almost cried.; I’ve been working on my passive income game since 2013, and I saw a return on that time investment when I needed it most.

That’s why I’m recommending The 4-Hour Workweek to writers. So much of our trade is producing passive income products. Yes, your books are products! And for many writers, this means rewiring your brain to stop looking at writing strictly as an art that will leave you impoverished for life and start approaching writing as a business that can earn you a real living through passive income. No book will help you break out of that mindset better than The 4-Hour Workweek and its actionable steps, proven method, and numerous examples of people who have followed the strategy and are living the lifestyle they’ve always dreamed of but never thought was possible.

How to read it: Purchase The 4-Hour Workweek on Amazon and add it on Goodreads

Before and After the Book Deal: A Writer’s Guide to Finishing, Publishing, Promoting, and Surviving Your First Book by Courtney Maum

For you if: You’re serious about making a living as a writer and publishing with a Big 5 or major indie publisher .

Courtney Maum’s Before and After the Book Deal addresses exactly what its title suggests: what happens after you sell your first book. This book is for ambitious writers intent on submission who know they want to write and want to avoid common pitfalls while negotiating terms and life after your debut. As many published authors would tell you, the debut is one thing, but following that book up with a sustainable, successful career is another trick entirely. Fortunately, we have Maum’s book, packed with to-the-moment details and advice.

How to read it: Purchase Before and After the Book Deal on Amazon and add it on Goodreads

Diy mfa: write with focus, read with purpose, build your community by gabriela pereira.

For you if: You’re stressed out wondering if you really need an MFA .

The MFA is under this header “business of writing” because it is absolutely an economic choice you make. And, look, I’m biased. I’m getting an MFA. But back when I was grappling with whether or not it was worth it—the debt, the time, the stress—I consulted with DIY MFA , an exceptional guide to learning how to enrich your writing craft, career, and community outside the structures of an MFA program. I’ve also more than once visited the companion site, DIYMFA.com , to find a kind of never-ending rabbit hole of new and timeless content on the writing life. On DIYMFA.com and in the corresponding book, you’ll find a lively hub for author interviews, writing craft shop talk, reading lists, and business of writing articles.

How to read it: Purchase DIY MFA on Amazon and add it on Goodreads

Mfa vs. nyc by chad harbach.

For you if: You’re wondering how far an MFA really gets you—and you’re ready to learn the realities of the publishing world .

About a thousand years ago (well, in 2007), I spent the fall of my sophomore year of college as a “Fiction Submissions and Advertising Intern” for the literary magazine n+1 , which was co-founded by Chad Harbach, who you might know from his buzzy novel, The Art of Fielding . In MFA vs NYC , Harbach offers his perspective as both an MFA graduate and someone deeply enmeshed in the New York City publishing industry. This thought-provoking look at these two arenas that launch writers will pull the wool up from your eyes about how publishing really works . It’s not just Harbach’s voice you get in here, though. The book, slim but mighty, includes perspectives from the likes of George Saunders and David Foster Wallace in the MFA camp and Emily Gould and Keith Gessen speaking to NYC’s writing culture.

How to read it: Purchase MFA vs. NYC on Amazon and add it on Goodreads

Scratch: writers, money, and the art of making a living – edited by manjula martin.

For you if: a) You’re worried about how to balance writing with making a living; b) You’re not worried about how to balance writing with making a living .

Scratch: Writers, Money, and the Art of Making a Living is alternately one of the most underrated and essential books on writing out there. This collection of personal essays and interviews all revolve around the taboo theme of how writers make their living, and it’s not always—indeed, rarely—through writing alone. Some of the many contributing authors include Cheryl Strayed ( Wild ), Alexander Chee ( How to Write an Autobiographical Novel ), Jennifer Weiner ( Mrs. Everything ), Austin Kleon ( Steal Like an Artist ), and many others. Recently a young woman asked me for career advice on being a professional freelance writer, and I made sure to recommend Scratch as an eye-opening and candid read that is both motivating and candid.

How to read it: Purchase Scratch: Writers, Money, and the Art of Making a Living on Amazon and add it on Goodreads

Write to market: deliver a book that sells by chris fox.

For you if: You don’t know why your books aren’t selling—and you want to start turning a profit by getting a real publishing strategy

So you don’t have to be an indie author to internalize the invaluable wisdom you’ll find here in Write to Market . I first heard about Write to Market when I first joined the 20Booksto50K writing group on Facebook , a massive, supportive, motivating community of mostly indie authors. Everyone kept talking about Write to Market . I read the book in a day and found the way I looked at publishing change. Essentially, what Chris Fox does in Write to Market is help you learn to identify what are viable publishing niches. Following his method, I’ve since published several successful and #1 bestselling books in the quotations genre on Amazon . Without Fox’s book, I’m not sure I would have gotten there on my own.

How to read it: Purchase Write to Market on Amazon and add it on Goodreads

And that’s a wrap what are some of your favorite writing books, share this:, you might be interested in.

• Four Romance Writing Tips from TITANIC

October 2023 Recommended Reads

Learn How to Read Tea Leaves with the Best Tea Leaf Reading Books

• Latest posts

Sarah S. Davis is the founder of Broke by Books, a blog about her journey as a schizoaffective disorder bipolar type writer and reader. Sarah's writing about books has appeared on Book Riot, Electric Literature, Kirkus Reviews, BookRags, PsychCentral, and more. She has a BA in English from the University of Pennsylvania, a Master of Library and Information Science from Clarion University, and an MFA in Writing for Children and Young Adults from Vermont College of Fine Arts.

• 5 Books I'm Looking Forward to This Summer

The Best Books of 2023

15 best new christmas romance books for 2023.

15 Best New Books for Nature Lovers

85 Roald Dahl Quotes from 10 of His Best Books

Latest from book lists.

5 Books I’m Looking Forward to This Summer

I’m back to blogging! It’s been an eventful last sixteen months as

Welcome to my roundup of the Best Books of 2023! Wow, can

In this list of the best new Christmas romance books for 2023,

If you want to learn how to read tea leaves, there’s no

The 30 Best Politics Books of All Time

The best politics books of all time capture the drama of political

• Writing, Research & Publishing Guides

Sorry, there was a problem.

Download the free Kindle app and start reading Kindle books instantly on your smartphone, tablet, or computer - no Kindle device required .

Read instantly on your browser with Kindle for Web.

Using your mobile phone camera - scan the code below and download the Kindle app.

Image Unavailable

• To view this video download Flash Player

Follow the author

The Making of a Story: A Norton Guide to Creative Writing Reprint Edition

A Los Angeles Times bestseller: wonderfully lucid and illuminating, Alice LaPlante’s guide to writing fiction “recalls Francine Prose’s bestseller, Reading Like a Writer ” ( Library Journal ).

• ISBN-10 0393337081
• ISBN-13 978-0393337082
• Edition Reprint
• Publisher W. W. Norton & Company
• Publication date January 11, 2010
• Language English
• Dimensions 6.1 x 1.8 x 9.3 inches
• Print length 677 pages
• See all details

Customers who bought this item also bought

Editorial Reviews

About the author, product details.

• Publisher ‏ : ‎ W. W. Norton & Company; Reprint edition (January 11, 2010)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 677 pages
• ISBN-10 ‏ : ‎ 0393337081
• ISBN-13 ‏ : ‎ 978-0393337082
• Item Weight ‏ : ‎ 1.7 pounds
• Dimensions ‏ : ‎ 6.1 x 1.8 x 9.3 inches
• #20 in Writing Skill Reference (Books)
• #37 in Words, Language & Grammar Reference
• #61 in Fiction Writing Reference (Books)

Videos for this product

Click to play video

Excellent resource for the creative writing teacher/student

TheEnglishTeacher

About the author

Alice laplante.

Discover more of the author’s books, see similar authors, read author blogs and more

Products related to this item

Related books

Customer reviews

• 5 star 4 star 3 star 2 star 1 star 5 star 79% 12% 5% 2% 2% 79%
• 5 star 4 star 3 star 2 star 1 star 4 star 79% 12% 5% 2% 2% 12%
• 5 star 4 star 3 star 2 star 1 star 3 star 79% 12% 5% 2% 2% 5%
• 5 star 4 star 3 star 2 star 1 star 2 star 79% 12% 5% 2% 2% 2%
• 5 star 4 star 3 star 2 star 1 star 1 star 79% 12% 5% 2% 2% 2%

Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.

To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.

Customers say

Customers find the writing style wonderful and the concepts clearly explained. They also say the book is immensely useful and a great collection of stories.

AI-generated from the text of customer reviews

Customers find the book readable, insightful, and well structured. They say the examples are clear and the book is immensely useful. Readers also enjoy the beginning and like the exercises. They mention that it has great information that is missing from most how-to-write books.

"...I enjoyed this book, I like the exercises. End of the book there was a glossary , bibliography, and a list of stories and permissions that were used..." Read more

"THIS BOOK WAS WELL DETAILED AND THOUGHTFULWELL WORTH THE INVESTMENT" Read more

"...Though the length may seem intimidating, the author writes clearly and concisely ." Read more

"...It has great information that is missing from most how-to-write books. Like when Show-Don't-Tell is not necessarily the best advice!..." Read more

Customers find the storytelling in the book great.

"...End of the book there was a glossary, bibliography, and a list of stories and permissions that were used in the book." Read more

"This was written as a textbook, so it includes both narrative advice , and reading exercises and such...." Read more

"...The exercises are helpful and the short stories are varied and sensitively chosen...." Read more

"...That alone introduced me to several amazing short stories , including "Sonny's Blues" by James Baldwin and "The Lady with the Little Dog" by Anton..." Read more

Customers find the writing style wonderful and splendid. They also mention that they're using it in a community college class.

"...This is the book for you. It is very well written and the examples are great. My favorite are the exercises that really make you dig deep." Read more

"I bought this for a creative writing class and it’s very insightful, well-written , and the sample stories are all great examples for the elements of..." Read more

"...and exercises to help the creative process, it's concise and well written , reads easily at reader's pace. Great learning tool" Read more

" Wonderful writing text . I'm using it in a community college class. The instructor really likes it, too!" Read more

Customers find the book worth the price.

"THIS BOOK WAS WELL DETAILED AND THOUGHTFUL WELL WORTH THE INVESTMENT " Read more

"The Making of A Story is one of the best books on writing. It is worth every penny ...." Read more

"...But the price different is astounding for basically the same book. All my short story writing friends have purchased this." Read more

" Worth the price not just for book enthusiasts not everyone" Read more

Reviews with images

Ideal for a writer enthusiast!

• Sort reviews by Top reviews Most recent Top reviews

Top reviews from the United States

There was a problem filtering reviews right now. please try again later..

Top reviews from other countries

• About Amazon
• Investor Relations
• Amazon Devices
• Amazon Science
• Sell products on Amazon
• Sell on Amazon Business
• Sell apps on Amazon
• Become an Affiliate
• Advertise Your Products
• Self-Publish with Us
• Host an Amazon Hub
• › See More Make Money with Us
• Amazon Business Card
• Shop with Points
• Reload Your Balance
• Amazon Currency Converter
• Amazon and COVID-19
• Your Account
• Your Orders
• Shipping Rates & Policies
• Returns & Replacements
• Manage Your Content and Devices

• Conditions of Use
• Privacy Notice
• Consumer Health Data Privacy Disclosure
• Your Ads Privacy Choices

How to Write a Book From Start to Finish: A Proven Guide

So you want to write a book. Becoming an author can change your life—not to mention give you the ability to impact thousands, even millions, of people.

But writing a book isn’t easy. As a 21-time New York Times bestselling author, I can tell you: It’s far easier to quit than to finish.

You’re going to be tempted to give up writing your book when you run out of ideas, when your own message bores you, when you get distracted, or when you become overwhelmed by the sheer scope of the task.

But what if you knew exactly:

• Where to start…
• What each step entails…
• How to overcome fear, procrastination, a nd writer’s block…
• And how to keep from feeling overwhelmed?

You can write a book—and more quickly than you might think, because these days you have access to more writing tools than ever. 

The key is to follow a proven, straightforward, step-by-step plan .

My goal here is to offer you that book-writing plan.

I’ve used the techniques I outline below to write more than 200 books (including the Left Behind series) over the past 50 years. Yes, I realize writing over four books per year on average is more than you may have thought humanly possible. 

But trust me—with a reliable blueprint, you can get unstuck and finally write your book .

This is my personal approach on how to write a book. I’m confident you’ll find something here that can change the game for you. So, let’s jump in.

• How to Write a Book From Start to Finish

Part 1: Before You Begin Writing Your Book

• Establish your writing space.
• Assemble your writing tools.

Part 2: How to Start Writing a Book

• Break the project into small pieces.
• Settle on your BIG idea.
• Construct your outline.
• Set a firm writing schedule.
• Establish a sacred deadline.
• Embrace procrastination (really!).
• Eliminate distractions.
• Conduct your research.
• Start calling yourself a writer.

Part 3: The Book-Writing Itself

• Think reader-first.
• Find your writing voice.
• Write a compelling opener.
• Fill your story with conflict and tension.
• Turn off your internal editor while writing the first draft.
• Persevere through The Marathon of the Middle.
• Write a resounding ending.

Part 4: Editing Your Book

• Become a ferocious self-editor.
• Find a mentor.
• Part 5: Publishing Your Book
• Decide on your publishing avenue.
• Properly format your manuscript.
• Set up and grow your author platform.
• Pursue a Literary Agent
• Writing Your Query Letter
• Part One: Before You Begin Writing Your Book

You’ll never regret—in fact, you’ll thank yourself later—for investing the time necessary to prepare for such a monumental task.

You wouldn’t set out to cut down a huge grove of trees with just an axe. You’d need a chain saw, perhaps more than one. Something to keep them sharp. Enough fuel to keep them running.

You get the picture. Don’t shortcut this foundational part of the process.

Step 1. Establish your writing space.

To write your book, you don’t need a sanctuary. In fact, I started my career o n my couch facing a typewriter perched on a plank of wood suspended by two kitchen chairs.

What were you saying about your setup again? We do what we have to do.

And those early days on that sagging couch were among the most productive of my career.

Naturally, the nicer and more comfortable and private you can make your writing lair (I call mine my cave), the better.

Real writers can write anywhere .

Some authors write their books in restaurants and coffee shops. My first full time job was at a newspaper where 40 of us clacked away on manual typewriters in one big room—no cubicles, no partitions, conversations hollered over the din, most of my colleagues smoking, teletype machines clattering.

Cut your writing teeth in an environment like that, and anywhere else seems glorious.

Step 2. Assemble your writing tools.

In the newspaper business, there was no time to hand write our stuff and then type it for the layout guys. So I have always written at a keyboard and still write my books that way.

Most authors do, though some hand write their first drafts and then keyboard them onto a computer or pay someone to do that.

No publisher I know would even consider a typewritten manuscript, let alone one submitted in handwriting.

The publishing industry runs on Microsoft Word, so you’ll need to submit Word document files. Whether you prefer a Mac or a PC, both will produce the kinds of files you need.

And if you’re looking for a musclebound electronic organizing system, you can’t do better than Scrivener . It works well on both PCs and Macs, and it nicely interacts with Word files.

Just remember, Scrivener has a steep learning curve, so familiarize yourself with it before you start writing.

Scrivener users know that taking the time to learn the basics is well worth it.

Tons of other book-writing tools exist to help you. I’ve included some of the most well-known in my blog po st on here (for software) and here (for writing tools) fo r your reference.

So, what else do you need?

If you are one who handwrites your first drafts, don’t scrimp on paper, pencils, or erasers.

Don’t shortchange yourself on a computer either. Even if someone else is keyboarding for you, you’ll need a computer for research and for communicating with potential agents, edi tors, publishers.

Get the best computer you can afford, the latest, the one with the most capacity and speed.

Try to imagine everything you’re going to need in addition to your desk or table, so you can equip yourself in advance and don’t have to keep interrupting your work to find things like:

• Paper clips
• Pencil holders
• Pencil sharpeners
• Printing paper
• Paperweight
• Tape dispensers
• Cork or bulletin boards
• Reference works
• Space heaters
• Beverage mugs
• You name it
• Last, but most crucial, get the best, most ergonomic chair you can afford.

If I were to start my career again with that typewriter on a plank, I would not sit on that couch. I’d grab another straight-backed kitchen chair or something similar and be proactive about my posture and maintaining a healthy spine.

There’s nothing worse than trying to be creative and immerse yourself in writing while you’re in agony . The chair I work in today cost more than my first car!

If you’ve never used some of the items I listed above and can’t imagine needing them, fine. But make a list of everything you know you’ll need so when the actual writing begins, you’re already equipped.

As you grow as a writer and actually start making money at it, you can keep upgrading your writing space.

Where I work now is light years from where I started. But the point is, I didn’t wait to start writing until I could have a great spot in which to do it.

• Part Two: How to Start Writing a Book

Step 1. Break your book into small pieces.

Writing a book feels like a colossal project, because it is! Bu t your manuscript w ill be made up of many small parts .

An old adage says that the way to eat an elephant is one bite at a time .

Try to get your mind off your book as a 400-or-so-page monstrosity.

It can’t be written all at once any more than that proverbial elephant could be eaten in a single sitting.

See your book for what it is: a manuscript made up of sentences, paragraphs, pages. Those pages will begin to add up, and though after a week you may have barely accumulated double digits, a few months down the road you’ll be into your second hundred pages.

So keep it simple.

Start by distilling you r big book idea from a page or so to a single sentence— your premise . The more specific that one-sentence premise, the more it will keep you focused while you’re writing.

But let’s not get ahead of ourselves. Before you can turn your big idea into one sentence, which can then b e expanded to an outline, you have to settle on exactly what that big idea is.

Step 2. Settle on your BIG idea.

To be book-worthy, your idea has to be killer.

You need to write something about which you’re passionate , something that gets you up in the morning, draws you to the keyboard, and keeps you there. It should excite not only you, but also anyone you tell about it.

I can’t overstate the importance of this.

If you’ve tried and failed to finish your book before—maybe more than once—it could be that the basic premise was flawed. Maybe it was worth a blog post or an article but couldn’t carry an entire book.

Think The Hunger Games , Harry Potter , or How to Win Friends and Influence People . The market is crowded, the competition fierce. There’s no more room for run-of-the-mill ideas. Your premise alone should make readers salivate.

Go for the big concept book.

How do you know you’ve got a winner? Does it have legs? In other words, does it stay in your mind, growing and developing every time you think of it?

Run it past loved ones and others you trust.

Does it raise eyebrows? Elicit Wows? Or does it result in awkward silences?

The right concept simply works, and you’ll know it when you land on it. Most importantly, your idea must capture you in such a way that you’re compelled to write it . Otherwise you will lose interest halfway through and never finish.

Step 3. Construct your outline.

Writing your book without a clear vision of where you’re going usually ends in disaster.

Even if you ’re writing a fiction book an d consider yourself a Pantser* as opposed to an Outliner , you need at least a basic structure.

[*Those of us who write by the seat of our pants and, as Stephen King advises, pu t interesting characters i n difficult situations and write to find out what happens]

You don’t have to call it an outline if that offends your sensibilities. But fashion some sort of a directional document that provides structure for your book and also serves as a safety net.

If you get out on that Pantser highwire and lose your balance, you’ll thank me for advising you to have this in place.

Now if you’re writing a nonfiction book, there’s no substitute for an outline .

Potential agents or publishers require this in your proposal. T hey want to know where you’re going, and they want to know that you know. What do you want your reader to learn from your book, and how will you ensure they learn it?

Fiction or nonfiction, if you commonly lose interest in your book somewhere in what I call the Marathon of the Middle, you likely didn’t start with enough exciting ideas .

That’s why and outline (or a basic framework) is essential. Don’t even start writing until you’re confident your structure will hold up through the end.

You may recognize this novel structure illustration.

Did you know it holds up—with only slight adaptations—for nonfiction books too ? It’s self-explanatory for novelists; they list their plot twists and developments and arrange them in an order that best serves to increase tension .

What separates great nonfiction from mediocre? The same structure!

Arrange your points and evidence in the same way so you’re setting your reader up for a huge payoff, and then make sure you deliver.

If your nonfiction book is a memoir ( more scene based ), an autobiography ( more fact-based ), or a biography, structure it like a novel and you can’t go wrong.

But even if it’s a straightforward how-to book, stay as close to this structure as possible, and you’ll see your manuscript come alive.

Make promises early, triggering your reader to anticipate fresh ideas, secrets, inside information, something major that will make him thrilled with the finished product.

While a nonfiction book may not have as much action or dialogue or character development as a novel, you can inject tension by showing where people have failed before and how your reader can succeed.

You can even make the how-to project look impossible until you pay off that setup with your unique solution.

Keep your outline to a single page for now. But make sure every major point is represented, so you’ll always know where you’re going.

And don’t worry if you’ve forgotten the basics of classic outlining or have never felt comfortable with the concept.

Your outline must serve you. If that means Roman numerals and capital and lowercase letters and then Arabic numerals, you can certainly fashion it that way. But if you just want a list of sentences that synopsize your idea, that’s fine too.

Simply start with your working title, then your premise, then—for fiction, list all the major scenes that fit into the rough structure above.

For nonfiction, try to come up with chapter titles and a sentence or two of what each chapter will cover.

Once you have your one-page outline, remember it is a fluid document meant to serve you and your book. Expand it, change it, play with it as you see fit—even during the writing process .

Step 4. Set a firm writing schedule.

Ideally, you want to schedule at least six hours per week to write your book.

That may consist of three sessions of two hours each, two sessions of three hours, or six one-hour sessions—whatever works for you.

I recommend a regular pattern (same times, same days) that can most easily become a habit. But if that’s impossible, just make sure you carve out at least six hours so you can see real progress.

Having trouble finding the time to write a book? News flash—you won’t find the time. You have to make it.

I used the phrase carve out above for a reason. That’s what it takes.

Something in your calendar will likely have to be sacrificed in the interest of writing time . 

Make sure it’s not your family—they should always be your top priority. Never sacrifice your family on the altar of your writing career.

But beyond that, the truth is that we all find time for what we really want to do.

Many writers insist they have no time to write, but they always seem to catch the latest Netflix original series, or go to the next big Hollywood feature. They enjoy concerts, parties, ball games, whatever.

How important is it to you to finally write your book? What will you cut from your calendar each week to ensure you give it the time it deserves?

• A favorite TV show?
• An hour of sleep per night? (Be careful with this one; rest is crucial to a writer.)

Successful writers make time to write.

When writing becomes a habit, you’ll be on your way.

Step 5. Establish a sacred deadline.

Without deadlines, I rarely get anything done. I need that motivation.

Admittedly, my deadlines are now established in my contracts from publishers.

If you’re writing your first book, you probably don’t have a contract yet. To ensure you finish your book, set your own deadline—then consider it sacred .

Tell your spouse or loved one or trusted friend. Ask that they hold you accountable.

Now determine—and enter in your calendar—the number of pages you need to produce per writing session to meet your deadline. If it proves unrealistic, change the deadline now.

If you have no idea how many pages or words you typically produce per session, you may have to experiment before you finalize those figures.

Say you want to finish a 400-page manuscript by this time next year.

Divide 400 by 50 weeks (accounting for two off-weeks), and you get eight pages per week. 

Divide that by your typical number of writing sessions per week and you’ll know how many pages you should finish per session.

Now is the time to adjust these numbers, while setting your deadline and determining your pages per session.

Maybe you’d rather schedule four off weeks over the next year. Or you know your book will be unusually long.

Change the numbers to make it realistic and doable, and then lock it in. Remember, your deadline is sacred.

Step 6. Embrace procrastination (really!).

You read that right. Don’t fight it; embrace it.

You wouldn’t guess it from my 200+ published books, but I’m the king of procrastinators .

Don’t be. So many authors are procrastinators that I’ve come to wonder if it’s a prerequisite.

The secret is to accept it and, in fact, schedule it.

I quit fretting and losing sleep over procrastinating when I realized it was inevitable and predictable, and also that it was productive.

Sound like rationalization?

Maybe it was at first. But I learned that while I’m putting off the writing, my subconscious is working on my book. It’s a part of the process. When you do start writing again, you’ll enjoy the surprises your subconscious reveals to you.

So, knowing procrastination is coming, book it on your calendar .

Take it into account when you’re determining your page quotas. If you have to go back in and increase the number of pages you need to produce per session, do that (I still do it all the time).

But—and here’s the key—you must never let things get to where that number of pages per day exceeds your capacity.

It’s one thing to ratchet up your output from two pages per session to three. But if you let it get out of hand, you’ve violated the sacredness of your deadline.

How can I procrastinate and still meet more than 190 deadlines?

Because I keep the deadlines sacred.

Step 7. Eliminate distractions to stay focused.

Are you as easily distracted as I am?

Have you found yourself writing a sentence and then checking your email? Writing another and checking Facebook? Getting caught up in the pictures of 10 Sea Monsters You Wouldn’t Believe Actually Exist?

Then you just have to check out that precious video from a talk show where the dad surprises the family by returning from the war.

That leads to more and more of the same. Once I’m in, my writing is forgotten, and all of a sudden the day has gotten away from me.

The answer to these insidious timewasters?

Look into these apps that allow you to block your email, social media, browsers, game apps, whatever you wish during the hours you want to write. Some carry a modest fee, others are free.

• Freedom app
• FocusWriter

Step 8. Conduct your research.

Yes, research is a vital part of the process , whether you’re writing fiction or nonfiction.

Fiction means more than just making up a story.

Your details and logic and technical and historical details must be right for your novel to be believable.

And for nonfiction, even if you’re writing about a subject in which you’re an expert—as I’m doing here—getting all the facts right will polish your finished product.

In fact, you’d be surprised at how many times I’ve researched a fact or two while writing this blog post alone.

The last thing you want is even a small mistake due to your lack of proper research.

Regardless the detail, trust me, you’ll hear from readers about it.

Your credibility as an author and an expert hinges on creating trust with your reader . That dissolves in a hurry if you commit an error.

My favorite research resources:

• World Almanacs : These alone list almost everything you need for accurate prose: facts, data, government information, and more. For my novels, I often use these to come up with ethnically accurate character names.
• The Merriam-Webster Thesaurus : The online version is great, because it’s lightning fast. You couldn’t turn the pages of a hard copy as quickly as you can get where you want to onscreen. One caution: Never let it be obvious you’ve consulted a thesaurus. You’re not looking for the exotic word that jumps off the page. You’re looking for that common word that’s on the tip of your tongue.
• WorldAtlas.com : Here you’ll find nearly limitless information about any continent, country, region, city, town, or village. Names, monetary units, weather patterns, tourism info, and even facts you wouldn’t have thought to search for. I get ideas when I’m digging here, for both my novels and my nonfiction books.

Step 9. Start calling yourself a writer.

Your inner voice may tell you, “You’re no writer and you never will be. Who do you think you are, trying to write a book?”

That may be why you’ve stalled at writing your book in the past .

But if you’re working at writing, studying writing, practicing writing, that makes you a writer. Don’t wait till you reach some artificial level of accomplishment before calling yourself a writer.

A cop in uniform and on duty is a cop whether he’s actively enforced the law yet or not. A carpenter is a carpenter whether he’s ever built a house.

Self-identify as a writer now and you’ll silence that inner critic —who, of course, is really you. 

Talk back to yourself if you must. It may sound silly, but acknowledging yourself as a writer can give you the confidence to keep going and finish your book.

Are you a writer? Say so.

• Part Three: The Book-Writing Itself

Step 1. Think reader-first.

This is so important that that you should write it on a sticky note and affix it to your monitor so you’re reminded of it every time you write.

Every decision you make about your manuscript must be run through this filter.

Not you-first, not book-first, not editor-, agent-, or publisher-first. Certainly not your inner circle- or critics-first.

Reader-first, last, and always .

If every decision is based on the idea of reader-first, all those others benefit anyway.

When fans tell me they were moved by one of my books, I think back to this adage and am grateful I maintained that posture during the writing.

Does a scene bore you? If you’re thinking reader-first, it gets overhauled or deleted.

Where to go, what to say, what to write next? Decide based on the reader as your priority.

Whatever your gut tells you your reader would prefer, that’s your answer.

Whatever will intrigue him, move him, keep him reading, those are your marching orders.

So, naturally, you need to know your reader. Rough age? General interests? Loves? Hates? Attention span?

When in doubt, look in the mirror . 

The surest way to please your reader is to please yourself. Write what you would want to read and trust there is a broad readership out there that agrees.

Step 2. Find your writing voice.

Discovering your voice is nowhere near as complicated as some make it out to be.

You can find yours by answering these quick questions :

• What’s the coolest thing that ever happened to you?
• Who’s the most important person you told about it?
• What did you sound like when you did?
• That’s your writing voice. It should read the way you sound at your most engaged.

That’s all there is to it.

If you write fiction and the narrator of your book isn’t you, go through the three-question exercise on the narrator’s behalf—and you’ll quickly master the voice.

Here’s a blog I posted that’ll walk you through the process .

Step 3. Write a compelling opener.

If you’re stuck because of the pressure of crafting the perfect opening line for your book, you’re not alone.

And neither is your angst misplaced.

This is not something you should put off and come back to once you’ve started on the rest of the first chapter.

Oh, it can still change if the story dictates that. But settling on a good one will really get you off and running.

It’s unlikely you’ll write a more important sentence than your first one , whether you’re writing fiction or nonfiction. Make sure you’re thrilled with it and then watch how your confidence—and momentum—soars.

Most great first lines fall into one of these categories:

1. Surprising

Fiction : “It was a bright cold day in April, and the clocks were striking thirteen.” —George Orwell, Nineteen Eighty-Four

Nonfiction : “By the time Eustace Conway was seven years old, he could throw a knife accurately enough to nail a chipmunk to a tree.” —Elizabeth Gilbert, The Last American Man

2. Dramatic Statement

Fiction : “They shoot the white girl first.” —Toni Morrison, Paradise

Nonfiction : “I was five years old the first time I ever set foot in prison.” —Jimmy Santiago Baca, A Place to Stand

3. Philosophical

Fiction : “Happy families are all alike; every unhappy family is unhappy in its own way.” —Leo Tolstoy, Anna Karenina

Nonfiction : “It’s not about you.” —Rick Warren, The Purpose Driven Life

Fiction : “When I finally caught up with Abraham Trahearne, he was drinking beer with an alcoholic bulldog named Fireball Roberts in a ramshackle joint just outside of Sonoma, California, drinking the heart right out of a fine spring afternoon. —James Crumley, The Last Good Kiss

Nonfiction : “The village of Holcomb stands on the high wheat plains of western Kansas, a lonesome area that other Kansans call ‘out there.’” —Truman Capote, In Cold Blood

Great opening lines from other classics may give you ideas for yours. Here’s a list of famous openers .

Step 4. Fill your story with conflict and tension.

Your reader craves conflict, and yes, this applies to nonfiction readers as well.

In a novel, if everything is going well and everyone is agreeing, your reader will soon lose interest and find something else to do.

Are two of your characters talking at the dinner table? Have one say something that makes the other storm out.

Some deep-seeded rift in their relationship has surfaced—just a misunderstanding, or an injustice?

Thrust people into conflict with each other . 

That’ll keep your reader’s attention.

Certain nonfiction genres won’t lend themselves to that kind of conflict, of course, but you can still inject tension by setting up your reader for a payoff in later chapters. Check out some of the current bestselling nonfiction works to see how writers accomplish this.

Somehow they keep you turning those pages, even in a simple how-to title.

Tension is the secret sauce that will propel your reader through to the end . 

And sometimes that’s as simple as implying something to come.

Step 5. Turn off your internal editor while writing the first draft.

Many of us perfectionists find it hard to write a first draft—fiction or nonfiction—without feeling compelled to make every sentence exactly the way we want it.

That voice in your head that questions every word, every phrase, every sentence, and makes you worry you’re being redundant or have allowed cliches to creep in—well, that’s just your editor alter ego.

He or she needs to be told to shut up .

This is not easy.

Deep as I am into a long career, I still have to remind myself of this every writing day. I cannot be both creator and editor at the same time. That slows me to a crawl, and my first draft of even one brief chapter could take days.

Our job when writing that first draft is to get down the story or the message or the teaching—depending on your genre.

It helps me to view that rough draft as a slab of meat I will carve tomorrow .

I can’t both produce that hunk and trim it at the same time.

A cliche, a redundancy, a hackneyed phrase comes tumbling out of my keyboard, and I start wondering whether I’ve forgotten to engage the reader’s senses or aimed for his emotions.

That’s when I have to chastise myself and say, “No! Don’t worry about that now! First thing tomorrow you get to tear this thing up and put it back together again to your heart’s content!”

Imagine yourself wearing different hats for different tasks , if that helps—whatever works to keep you rolling on that rough draft. You don’t need to show it to your worst enemy or even your dearest love. This chore is about creating. Don’t let anything slow you down.

Some like to write their entire first draft before attacking the revision. As I say, whatever works.

Doing it that way would make me worry I’ve missed something major early that will cause a complete rewrite when I discover it months later. I alternate creating and revising.

The first thing I do every morning is a heavy edit and rewrite of whatever I wrote the day before. If that’s ten pages, so be it. I put my perfectionist hat on and grab my paring knife and trim that slab of meat until I’m happy with every word.

Then I switch hats, tell Perfectionist Me to take the rest of the day off, and I start producing rough pages again.

So, for me, when I’ve finished the entire first draft, it’s actually a second draft because I have already revised and polished it in chunks every day.

THEN I go back through the entire manuscript one more time, scouring it for anything I missed or omitted, being sure to engage the reader’s senses and heart, and making sure the whole thing holds together.

I do not submit anything I’m not entirely thrilled with .

I know there’s still an editing process it will go through at the publisher, but my goal is to make my manuscript the absolute best I can before they see it.

Compartmentalize your writing vs. your revising and you’ll find that frees you to create much more quickly.

Step 6. Persevere through The Marathon of the Middle.

Most who fail at writing a book tell me they give up somewhere in what I like to call The Marathon of the Middle.

That’s a particularly rough stretch for novelists who have a great concept, a stunning opener, and they can’t wait to get to the dramatic ending. But they bail when they realize they don’t have enough cool stuff to fill the middle.

They start padding, trying to add scenes just for the sake of bulk, but they’re soon bored and know readers will be too.

This actually happens to nonfiction writers too.

The solution there is in the outlining stage , being sure your middle points and chapters are every bit as valuable and magnetic as the first and last.

If you strategize the progression of your points or steps in a process—depending on nonfiction genre—you should be able to eliminate the strain in the middle chapters.

For novelists, know that every book becomes a challenge a few chapters in. The shine wears off, keeping the pace and tension gets harder, and it’s easy to run out of steam.

But that’s not the time to quit. Force yourself back to your structure, come up with a subplot if necessary, but do whatever you need to so your reader stays engaged.

Fiction writer or nonfiction author, The Marathon of the Middle is when you must remember why you started this journey in the first place.

It isn’t just that you want to be an author. You have something to say. You want to reach the masses with your message.

Yes, it’s hard. It still is for me—every time. But don’t panic or do anything rash, like surrendering. Embrace the challenge of the middle as part of the process. If it were easy, anyone could do it.

Step 7. Write a resounding ending.

This is just as important for your nonfiction book as your novel. It may not be as dramatic or emotional, but it could be—especially if you’re writing a memoir.

But even a how-to or self-help book needs to close with a resounding thud, the way a Broadway theater curtain meets the floor .

How do you ensure your ending doesn’t fizzle?

• Don’t rush it . Give readers the payoff they’ve been promised. They’ve invested in you and your book the whole way. Take the time to make it satisfying.
• Never settle for close enough just because you’re eager to be finished. Wait till you’re thrilled with every word, and keep revising until you are.
• If it’s unpredictable, it had better be fair and logical so your reader doesn’t feel cheated. You want him to be delighted with the surprise, not tricked.
• If you have multiple ideas for how your book should end, go for the heart rather than the head, even in nonfiction. Readers most remember what moves them.
• Part Four: Rewriting Your Book

Step 1. Become a ferocious self-editor.

Agents and editors can tell within the first two pages whether your manuscript is worthy of consideration. That sounds unfair, and maybe it is. But it’s also reality, so we writers need to face it.

How can they often decide that quickly on something you’ve devoted months, maybe years, to?

Because they can almost immediately envision how much editing would be required to make those first couple of pages publishable. If they decide the investment wouldn’t make economic sense for a 300-400-page manuscript, end of story.

Your best bet to keep an agent or editor reading your manuscript?

You must become a ferocious self-editor. That means:

• Omit needless words
• Choose the simple word over one that requires a dictionary
• Avoid subtle redundancies , like “He thought in his mind…” (Where else would someone think?)
• Avoid hedging verbs like almost frowned, sort of jumped, etc.
• Generally remove the word that —use it only when absolutely necessary for clarity
• Give the reader credit and resist the urge to explain , as in, “She walked through the open door.” (Did we need to be told it was open?)
• Avoid too much stage direction (what every character is doing with every limb and digit)
• Avoid excessive adjectives
• Show, don’t tell
• And many more

For my full list and how to use them, click here . (It’s free.)

When do you know you’re finished revising? When you’ve gone from making your writing better to merely making it different. That’s not always easy to determine, but it’s what makes you an author. 

Step 2. Find a mentor.

Get help from someone who’s been where you want to be.

Imagine engaging a mentor who can help you sidestep all the amateur pitfalls and shave years of painful trial-and-error off your learning curve.

Just make sure it’s someone who really knows the writing and publishing world. Many masquerade as mentors and coaches but have never really succeeded themselves.

Look for someone widely-published who knows how to work with agents, editors, and publishers .

There are many helpful mentors online . I teach writers through this free site, as well as in my members-only Writers Guild .

Step 1. Decide on your publishing avenue.

In simple terms, you have two options when it comes to publishing your book:

1. Traditional publishing

Traditional publishers take all the risks. They pay for everything from editing, proofreading, typesetting, printing, binding, cover art and design, promotion, advertising, warehousing, shipping, billing, and paying author royalties.

2. Self-publishing

Everything is on you. You are the publisher, the financier, the decision-maker. Everything listed above falls to you. You decide who does it, you approve or reject it, and you pay for it. The term self-publishing is a bit of a misnomer, however, because what you’re paying for is not publishing, but printing. 

Both avenues are great options under certain circumstances. 

Not sure which direction you want to take? Click here to read my in-depth guide to publishing a book. It’ll show you the pros and cons of each, what each involves, and my ultimate recommendation.

Step 2: Properly format your manuscript.

Regardless whether you traditionally or self-publish your book, proper formatting is critical.

Because poor formatting makes you look like an amateur .

Readers and agents expect a certain format for book manuscripts, and if you don’t follow their guidelines, you set yourself up for failure.

Best practices when formatting your book:

• Use 12-point type
• Use a serif font; the most common is Times Roman
• Double space your manuscript
• No extra space between paragraphs
• Only one space between sentences
• Indent each paragraph half an inch (setting a tab, not using several spaces)
• Text should be flush left and ragged right, not justified
• If you choose to add a line between paragraphs to indicate a change of location or passage of time, center a typographical dingbat (like ***) on the line
• Black text on a white background only
• One-inch margins on the top, bottom, and sides (the default in Word)
• Create a header with the title followed by your last name and the page number. The header should appear on each page other than the title page.

If you need help implementing these formatting guidelines, click here to read my in-depth post on formatting your manuscript.

Step 3. Set up your author website and grow your platform.

All serious authors need a website. Period.

Because here’s the reality of publishing today…

You need an audience to succeed.

If you want to traditionally publish, agents and publishers will Google your name to see if you have a website and a following.

If you want to self-publish, you need a fan base.

And your author website serves as a hub for your writing, where agents, publishers, readers, and fans can learn about your work.

Don’t have an author website yet? Click here to read my tutorial on setting this up.

Step 4. Pursue a Literary Agent.

There remain a few traditional publishers (those who pay you and take the entire financial risk of publishing your book rather than the other way around) who accept unsolicited submissions, but I do NOT recommend going that route. 

Your submission will likely wind up in what is known in the business as the slush pile. That means some junior staff member will be assigned to get to it when convenient and determine whether to reject it out of hand (which includes the vast majority of the submissions they see) or suggest the publisher’s editorial board consider it.

While I am clearly on record urging you to exhaust all your efforts to traditionally publish before resorting to self-publishing (in other words, paying to be printed), as I say, I do not recommend submitting unsolicited material even to those publishers who say they accept such efforts.

Even I don’t try to navigate the publishing world by myself, despite having been an author, an editor, a publisher, and a writing coach over the last 50 years.

That’s why I have an agent and you need one too.

Many beginning writers naturally wonder why they should share any of their potential income with an agent (traditionally 15%). First, they don’t see any of that income unless you’re getting your 85% at the same time. And second, everyone I know in the business is happy to have someone in their corner, making an agent a real bargain.

I don’t want to have to personally represent myself and my work. I want to stay in my creative lane and let a professional negotiate every clause of the contract and win me the best advance and rights deal possible.

Once under contract, I work directly with the publishing house’s editor and proofreader, but I leave the financial business to my agent.

Ultimately, an agent’s job is to protect your rights and make you money. They profit only when you do.

That said, landing an agent can be as difficult and painstaking as landing a publisher. They know the market, they know the editors, they know what publishers want, and they can advise you how to put your best foot forward.

But how do you know who to trust? Credible, trustworthy agents welcome scrutiny. If you read a book in your genre that you like, check the Acknowledgments page for the agent’s name. If the author thinks enough of that person to mention them glowingly, that’s a great endorsement.

If you’re writing in the inspirational market, peruse agents listed in The Christian Writer’s Market Guide . If you’re writing for the general market, try The Writer’s Market . If you know any published authors, ask about their agents.

The guides that list agents also include what they’re looking for, what they specialize in, and sometimes even what they’re not interested in. Study these to determine potential agents who ply their trade in your genre. Visit their websites for their submission guidelines, and follow these to a T.

They may ask for a query letter, a synopsis, a proposal, or even sample chapters. Be sure not to send more or less than they suggest. 

The best, and most logical place to start is by sending them a query letter. Query simply means question, and in essence the question your letter asks is whether you may send them more.

Step 5: Writing Your Query Letter.

It’s time to move from author to salesperson.

Your query letter will determine whether a literary agent asks to see more, sends you a cordial form letter to let you down easy, or simply doesn’t respond.

Sadly, many agents stipulate on their websites that if you hear nothing after a certain number of weeks, you should take that as an indication that they’re not interested. Frankly, to me, this is frustrating to the writer and lazy on the part of the agent. Surely, in this technological age, it should be easy to hit one button and send a note to someone who might otherwise wonder if the query reached the agent at all.

But that’s the reality we deal with.

So, the job of your one-page single-spaced email letter is to win a response—best case scenario: an invitation to send more: a proposal or even the manuscript. 

Basically, you’re selling yourself and your work. Write a poor query letter and an agent will assume your book is also poorly written.

Without being gimmicky or cute, your letter must intrigue an agent. 

Your query letter should:

• Be addressed to a specific person (not to the staff of the agency or “To Whom It May Concern”)*
• Present your book idea simply
• Evidence your style
• Show you know who your readers are
• Clarify your qualifications
• Exhibit flexibility and professionalism

*If you see a list of agents in a firm, choose one from the middle or bottom of the list. It could be that they get less personal mail than the person whose name is on the door. Who knows? That you single them out may make them see your query in a more favorable light.

For some great advice on writing a query letter, check this out: https://janefriedman.com/query-letters/  

• You Have What It Takes to Write a Book

Writing a book is a herculean task, but that doesn’t mean it can’t be done.

You can do this .

Take it one step at a time and vow to stay focused. And who knows, maybe by this time next year you’ll be holding a published copy of your book. :)

I’ve created an exclusive writing guide called How to Maximize Your Writing Time that will help you stay on track and finish writing your book.

Get your FREE copy by clicking the button below.

Are You Making This #1 Amateur Writing Mistake?

Faith-Based Words and Phrases

What You and I Can Learn From Patricia Raybon

Before you go, be sure to grab my FREE guide:

How to Write a Book: Everything You Need to Know in 20 Steps

Just tell me where to send it:

Enter your email to instantly access the free PDF version of How to Write a Book: Everything You Need to Know in 20 Steps .

Enter your email to instantly access my ultimate guide: 

How to maximize your writing time.

Creative Writing 101: Everything You Need to Get Started

Creative writing: You can take classes in it, you can earn a degree in it, but the only things you really need to do it are your creative thinking and writing tools. Creative writing is the act of putting your imagination on a page. It’s artistic expression in words; it’s writing without the constraints that come with other kinds of writing like persuasive or expository. 

Write with originality Grammarly helps you refine your word choice Write with Grammarly

What is creative writing?

Creative writing is writing meant to evoke emotion in a reader by communicating a theme. In storytelling (including literature, movies, graphic novels, creative nonfiction, and many video games), the theme is the central meaning the work communicates. 

Take the movie (and the novel upon which it’s based) Jaws , for instance. The story is about a shark that terrorizes a beach community and the men tasked with killing the shark. But the film’s themes include humanity’s desire to control nature, tradition vs. innovation, and how potential profit can drive people in power to make dangerous, even fatal, decisions. 

A theme isn’t the only factor that defines creative writing. Here are other components usually found in creative writing:

• Connecting, or at least attempting to connect, with the reader’s emotions
• Writing from a specific point of view
• A narrative structure can be complex or simple and serves to shape how the reader interacts with the content.
• Using imaginative and/or descriptive language

Creative writing typically uses literary devices like metaphors and foreshadowing to build a narrative and express the theme, but this isn’t a requirement. Neither is dialogue, though you’ll find it used in most works of fiction. Creative writing doesn’t have to be fictional, either. Dramatized presentations of true stories, memoirs, and observational humor pieces are all types of creative writing. 

What isn’t creative writing?

In contrast, research papers aren’t creative writing. Neither are analytical essays, persuasive essays , or other kinds of academic writing . Similarly, personal and professional communications aren’t considered creative writing—so your emails, social media posts, and official company statements are all firmly in the realm of non-creative writing. These kinds of writing convey messages, but they don’t express themes. Their goals are to inform and educate, and in some cases collect information from, readers. But even though they can evoke emotion in readers, that isn’t their primary goal. 

But what about things like blog posts? Or personal essays? These are broad categories, and specific pieces in these categories can be considered creative writing if they meet the criteria listed above. This blog post, for example, is not a piece of creative writing as it aims to inform, but a blog post that walks its reader through a first-person narrative of an event could be deemed creative writing. 

Types of creative writing

Creative writing comes in many forms. These are the most common:

Novels originated in the eighteenth century . Today, when people think of books, most think of novels. 

A novel is a fictional story that’s generally told in 60,000 to 100,000 words, though they can be as short as 40,000 words or go beyond 100,000. 

Stories that are too short to be novels, but can’t accurately be called short stories, are often referred to as novellas. Generally, a story between 10,000 and 40,000 words is considered a novella. You might also run into the term “ novelette ,” which is used to refer to stories that clock in between 7,500 and 19,000 words. 

Short stories

Short stories are fictional stories that fall generally between 5,000 and 10,000 words. Like novels, they tell complete stories and have at least one character, some sort of conflict, and at least one theme. 

When a story is less than 1,000 words, it’s categorized as a work of flash fiction.

Poetry can be hard to define because as a genre, it’s so open-ended. A poem doesn’t have to be any specific length. It doesn’t have to rhyme. There are many different kinds of poems from cultures all over the world, like sonnets, haikus, sestinas, blank verse, limericks, and free verse. 

The rules of poetry are generally flexible . . . unless you’re writing a specific type of poem, like a haiku , that has specific rules around the number of lines or structure. But while a poem isn’t required to conform to a specific length or formatting, or use perfect grammar , it does need to evoke its reader’s emotions, come from a specific point of view, and express a theme. 

And when you set a poem to music, you’ve got a song. 

Plays, TV scripts, and screenplays

Plays are meant to be performed on stage. Screenplays are meant to be made into films, and TV scripts are meant to be made into television programs. Scripts for videos produced for other platforms fit into this category as well. 

Plays, TV scripts, and screenplays have a lot in common with novels and short stories. They tell stories that evoke emotion and express themes. The difference is that they’re meant to be performed rather than read and as such, they tend to rely much more on dialogue because they don’t have the luxury of lengthy descriptive passages. But scriptwriters have more than just dialogue to work with; writing a play or script also involves writing stage or scene directions.

Each type of script has its own specific formatting requirements. 

Creative nonfiction

Creative nonfiction covers all the kinds of creative writing that aren’t fiction. Here are some examples:

• Personal essays: A personal essay is a true story told through a narrative framework. Often, recollections of events are interspersed with insights about those events and your personal interpretations and feelings about them in this kind of essay. 
• Literary journalism: Think of literary journalism as journalism enhanced by creative writing techniques. These are the kinds of stories often published in outlets like The New Yorker and Salon. Literary journalism pieces report on factual events but do so in a way that makes them feel like personal essays and short stories. 
• Memoirs: Memoirs are to personal essays what novels are to short stories. In other words, a memoir is a book-length collection of personal memories, often centering around a specific story, that often works opinions, epiphanies, and emotional insights into the narrative. 
• Autobiographies: An autobiography is a book you write about yourself and your life. Often, autobiographies highlight key events and may focus on one particular aspect of the author’s life, like her role as a tech innovator or his career as a professional athlete. Autobiographies are often similar in style to memoirs, but instead of being a collection of memories anchored to specific events, they tend to tell the author’s entire life story in a linear narrative. 
• Humor writing: Humor writing comes in many forms, like standup comedy routines, political cartoons, and humorous essays. 
• Lyric essays: In a lyric essay, the writer breaks conventional grammar and stylistic rules when writing about a concept, event, place, or feeling. In this way, lyric essays are like essay-length poems. The reason they’re considered essays, and not long poems, is that they generally provide more direct analysis of the subject matter than a poem would. 

Tips for writing creatively

Give yourself time and space for creative writing.

It’s hard to write a poem during your lunch break or work on your memoir between calls. Don’t make writing more difficult for yourself by trying to squeeze it into your day. Instead, block off time to focus solely on creative writing, ideally in a distraction-free environment like your bedroom or a coffee shop. 

>>Read More: How to Create Your Very Own Writing Retreat

Get to know yourself as a writer

The more you write, the more in tune you’ll become with your strengths and weaknesses as a writer. You’ll identify the kinds of characters, scenes, language, and pieces you like writing best and determine where you struggle the most. Understanding what kind of writer you are can help you decide which kinds of projects to pursue. 

Challenge yourself 

Once you know which kinds of writing you struggle with, do those kinds of writing. If you only focus on what you’re good at, you’ll never grow as a writer. Challenge yourself to write in a different genre or try a completely new type of writing. For example, if you’re a short story writer, give poetry or personal essays a try. 

Need help getting started? Give one (or all!) of these 20 fun writing prompts a try .

Learn from other writers

There are lots of resources out there about creative writing. Read and watch them. If there’s a particular writer whose work you enjoy, seek out interviews with them and personal essays they’ve written about their creative processes. 

>>Read More: How to Be a Master Storyteller—Tips from 5 Experts 

Don’t limit yourself to big-name writers, either. Get involved in online forums, social media groups, and if possible, in-person groups for creative writers. By doing this, you’re positioning yourself to learn from writers from all different walks of life . . . and help other writers, too. 

I wrote something. Where do I go from here?

Give yourself a pat on the back: You did it! You finished a piece of creative writing—something many attempt, but not quite as many achieve. 

What comes next is up to you. You can share it with your friends and family, but you don’t have to. You can post it online or bring it to an in-person writing group for constructive critique. You can even submit it to a literary journal or an agent to potentially have it published, but if you decide to take this route, we recommend working with an editor first to make it as polished as possible. 

Some writers are initially hesitant to share their work with others because they’re afraid their work will be stolen. Although this is a possibility, keep in mind that you automatically hold the copyright for any piece you write. If you’d like, you can apply for copyright protection to give yourself additional legal protection against plagiarizers, but this is by no means a requirement. 

Write with originality

Grammarly can’t help you be more creative, but we can help you hone your writing so your creativity shines as brightly as possible. Once you’ve written your piece, Grammarly can catch any mistakes you made and suggest strong word choices that accurately express your message. 

11 Best Creative Writing Books (Fiction & Non-Fiction Picks)

Writing is a craft, and like any craft, it requires practice. Aspiring writers need to hone their skills to express their ideas and imagination in a meaningful way. Creative writing books can be a great instrument in helping newbie writers grow and succeed. In this article, we will highlight the best creative writing books for aspiring writers, with fiction and non-fiction genres shown separately below.

Why Creative Writing Books Are Essential for Aspiring Writers

Aspiring writers sometimes struggle to find their voice and develop their skills. It’s essential to understand that writing is a lifelong learning process. Creative writing books can offer guidance and insights into the craft, providing an opportunity for writers to expand their knowledge and develop their skills. These books can help you learn writing techniques, inspire your creativity, and guide you through the publishing process.

Enhancing your writing skills

Have you ever read something and became mesmerized by the prose? Acclaimed authors have developed their writing skills through years of practice. Yet, with the right tools and guidance, aspiring authors can master these skills much faster. Some of the best creative writing books offer insights on grammar and style that can enhance your writing skills.

For example, sifting through “ The Elements of Style ” by William Strunk Jr. and E.B. White can help in grammar and guide you in using figures of speech appropriately. This classic book teaches you how to structure your sentences and essays, ideal for writers looking to add a polished finish to their writing skills. Similarly, “ On Writing Well ” by William Zinsser guides writers on how to develop their voice, rhythm, and flow – which are all vital elements in improving writing skills.

Another excellent book that can help you enhance your writing skills is “ Bird by Bird ” by Anne Lamott. This book is full of practical advice and exercises that can help you develop your writing skills. Lamott’s humorous and engaging style makes it an enjoyable read, making it easier to digest the information and apply it to your writing.

Expanding your imagination

Creative writing books not only help you develop your writing skills, but they can also expand your imagination, which is the heart of any great piece of writing. They allow you to explore different worlds and narratives, learn how to describe settings and characters, and master the art of symbolism and metaphor. A great example of a book that can help with this is “ Writing Down the Bones ” by Natalie Goldberg. In this book, Goldberg shares effective techniques to free your mind of any mental barriers and open up your imagination. Through her prompts and writing exercises, Goldberg encourages writers to explore their creative ideas and urges them to take their writing to new heights.

Another book that can help you expand your imagination is “ The Creative Habit ” by Twyla Tharp. Tharp is a renowned choreographer, but her book is not just for dancers. It’s a practical guide to cultivating creativity in any field, including writing. Tharp shares her methods for developing creative habits, such as setting aside time for creativity and finding inspiration in unexpected places.

Learning from the experts

One of the best ways to improve your writing is to read works from successful authors. However, in addition to reading books, you can also learn from the writers themselves by reading their experiences and insights on writing. Through their personal journeys, published writers can offer insight into the industry and what it takes to become a successful author.

For instance, the book “ The Writing Life ” by Annie Dillard delves into the raw and honest realities of being a writer. It’s a must-read for aspiring writers looking for inspiration and guidance, as Dillard offers a unique perspective on the craft of writing. Similarly, “ The Art of Memoir ” by Mary Karr details how to write vivid memoirs, with honest and sometimes painful hints of Karr’s own journey.

Another book that can offer insights into the publishing industry is “ On Writing” by Stephen King. In this memoir, King shares his journey to becoming a successful writer and offers practical advice on writing and publishing. King’s candid and straightforward approach makes it an entertaining and informative read.

Overall, creative writing books are essential for aspiring writers who want to develop their skills, expand their imagination, and learn from successful authors. With the right guidance and tools, you can improve your writing and take your craft to the next level.

Top Fiction Writing Books

Writing fiction is an art that requires skill, creativity, and dedication. Whether you’re a beginner or an experienced writer, there are always ways to improve your craft. Reading books on writing can be a great way to gain new insights and techniques that can help you become a better writer. Here are the top 5 fiction writing books that every aspiring writer should read:

“On Writing” by Stephen King

“ On Writing ” by Stephen King is a must-read for any aspiring writer. King shares his personal journey as a writer, from his early struggles to his eventual success. He provides practical advice on everything from grammar and style to the importance of reading and revision. King’s candid and humorous writing style makes this book an enjoyable read that will leave you feeling inspired and motivated to write.

“Bird by Bird” by Anne Lamott

In “ Bird by Bird ,” Anne Lamott offers a refreshing and honest perspective on the writing process. She emphasizes the importance of taking things one step at a time and encourages writers to embrace their imperfections. Lamott’s witty and relatable anecdotes will make you feel like you’re chatting with a friend who understands the struggles of being a writer.

“The Elements of Style” by William Strunk Jr. and E.B. White

“ The Elements of Style ” is a classic writing guide that has stood the test of time. Written by William Strunk Jr. and E.B. White, this book offers practical advice on grammar, style, and usage. It’s a concise and easy-to-read guide that will help you improve your writing skills and make your prose more polished and professional.

“Writing Down the Bones” by Natalie Goldberg

If you’re looking for a book that will help you tap into your creativity, “ Writing Down the Bones ” is the perfect choice. Natalie Goldberg’s book is a collection of short essays that offer practical advice on writing and creativity. She encourages writers to let go of their inhibitions and write freely, without worrying about perfection. Goldberg’s exercises and prompts will help you develop a daily writing practice that can unlock your full creative potential.

“The War of Art” by Steven Pressfield

“ The War of Art ” is a book that every writer should read. Steven Pressfield’s book is a powerful manifesto on the creative process and the obstacles that writers face. He identifies the internal forces of resistance that can prevent writers from pursuing their dreams and offers practical advice on how to overcome them. Pressfield’s book is a call to action for writers who want to take their craft to the next level.

Reading these books will not only improve your writing skills but also provide you with the inspiration and motivation you need to keep writing. Remember, writing is a journey, and every step you take will bring you closer to your goal of becoming a successful writer.

Top Non-Fiction Writing Books

If you’re looking to improve your non-fiction writing skills, you’re in luck. There are many excellent books out there that can help you sharpen your craft and take your writing to the next level. Here are five of the best non-fiction writing books, each with its unique insights and tips.

“The Art of Memoir” by Mary Karr

“ The Art of Memoir ” by Mary Karr is a must-read for anyone interested in writing memoirs. Karr is a master of the genre, and she draws on her own experiences to provide invaluable guidance on how to craft compelling and vivid stories. In this book, Karr explores the dynamics of memory, the challenges of writing about real people, and the importance of honesty and vulnerability in memoir writing. Whether you’re a seasoned writer or just starting, “The Art of Memoir” is an excellent resource for anyone looking to improve their memoir writing skills.

“The Writing Life” by Annie Dillard

“ The Writing Life ” by Annie Dillard is a classic book on the challenges and rewards of being a writer. Dillard shares her own experiences and insights, offering honest and encouraging guidance to anyone looking to make a career out of writing. In this book, Dillard explores the difficulties and struggles involved in the writing process, as well as the joys and rewards of creating something new. Whether you’re a novice or an experienced writer, “The Writing Life” is an inspiring and insightful read.

“On Writing Well” by William Zinsser

“ On Writing Well ” by William Zinsser is one of the best books out there on writing non-fiction. Zinsser lays out guidelines for clear, concise writing, using excellent examples and insights to help writers craft engaging and compelling pieces. In this book, Zinsser covers everything from grammar and syntax to style and voice, offering practical tips and advice for anyone looking to improve their non-fiction writing skills.

“The Right to Write” by Julia Cameron

“ The Right to Write ” by Julia Cameron is an excellent resource for anyone looking to develop a consistent writing habit. Cameron offers practical tips and exercises to help writers find their voice and develop their writing skills. In this book, Cameron explores the importance of cultivating a writing practice, overcoming writer’s block, and finding inspiration in everyday life. Whether you’re a beginner or an experienced writer, “The Right to Write” is an inspiring and practical guide to the writing life.

“The Writer’s Journey” by Christopher Vogler

“ The Writer’s Journey ” by Christopher Vogler is an essential guide for anyone looking to craft engaging non-fiction. Vogler teaches writers how to develop character arcs, build tension, and create compelling stories that keep readers engaged from beginning to end. Whether you’re working on a memoir, a journalistic piece, or any other type of non-fiction, “The Writer’s Journey” is a valuable resource for learning the essential elements of storytelling.

So there you have it – five of the best non-fiction writing books on the market today. Whether you’re a beginner or an experienced writer, these books offer invaluable insights and tips for improving your craft and taking your writing to the next level. So pick up a copy, start reading, and get ready to take your writing to new heights!

The Verdict

There you have it, the best creative writing books for aspiring writers out there. Whether you’re passionate about writing fiction or non-fiction, these books offer valuable tips and insights into how to approach the craft. These books aren’t magical solutions to becoming a writer but are incredibly useful aids in the ongoing process of developing your skills and finding your voice. Investing time in studying these books is worth it for anyone looking to grow and develop as a writer.

• Recent Posts
• The 11 Best Books About Cats You Should Read - January 16, 2024
• The 9 Best Books on Building Confidence - January 16, 2024
• Discover the 10 Best Books on the Brain - January 16, 2024

Related Posts:

• NONFICTION BOOKS
• BEST NONFICTION 2023
• BEST NONFICTION 2024
• Historical Biographies
• The Best Memoirs and Autobiographies
• Philosophical Biographies
• World War 2
• World History
• American History
• British History
• Chinese History
• Russian History
• Ancient History (up to c. 500 AD)
• Medieval History (500-1400)
• Military History
• Art History
• Travel Books
• Ancient Philosophy
• Contemporary Philosophy
• Ethics & Moral Philosophy
• Great Philosophers
• Social & Political Philosophy
• Classical Studies
• New Science Books
• Maths & Statistics
• Popular Science
• Physics Books
• Climate Change Books
• How to Write
• English Grammar & Usage
• Books for Learning Languages
• Linguistics
• Political Ideologies
• Foreign Policy & International Relations
• American Politics
• British Politics
• Religious History Books
• Mental Health
• Neuroscience
• Child Psychology
• Film & Cinema
• Opera & Classical Music
• Behavioural Economics
• Development Economics
• Economic History
• Financial Crisis
• World Economies
• Investing Books
• Artificial Intelligence/AI Books
• Data Science Books
• Sex & Sexuality
• Death & Dying
• Food & Cooking
• Sports, Games & Hobbies
• FICTION BOOKS
• BEST NOVELS 2024
• BEST FICTION 2023
• New Literary Fiction
• World Literature
• Literary Criticism
• Literary Figures
• Classic English Literature
• American Literature
• Comics & Graphic Novels
• Fairy Tales & Mythology
• Historical Fiction
• Crime Novels
• Science Fiction
• Short Stories
• South Africa
• United States
• Arctic & Antarctica
• Afghanistan
• Myanmar (Formerly Burma)
• Netherlands
• Kids Recommend Books for Kids
• High School Teachers Recommendations
• Prizewinning Kids' Books
• Popular Series Books for Kids
• BEST BOOKS FOR KIDS (ALL AGES)
• Ages Baby-2
• Books for Teens and Young Adults
• THE BEST SCIENCE BOOKS FOR KIDS
• BEST KIDS' BOOKS OF 2023
• BEST BOOKS FOR TEENS OF 2023
• Best Audiobooks for Kids
• Environment
• Best Books for Teens of 2023
• Best Kids' Books of 2023
• Political Novels
• New History Books
• New Historical Fiction
• New Biography
• New Memoirs
• New World Literature
• New Economics Books
• New Climate Books
• New Math Books
• New Philosophy Books
• New Psychology Books
• New Physics Books
• THE BEST AUDIOBOOKS
• Actors Read Great Books
• Books Narrated by Their Authors
• Best Audiobook Thrillers
• Best History Audiobooks
• Nobel Literature Prize
• Booker Prize (fiction)
• Baillie Gifford Prize (nonfiction)
• Financial Times (nonfiction)
• Wolfson Prize (history)
• Royal Society (science)
• Pushkin House Prize (Russia)
• Walter Scott Prize (historical fiction)
• Arthur C Clarke Prize (sci fi)
• The Hugos (sci fi & fantasy)
• Audie Awards (audiobooks)

Make Your Own List

Nonfiction Books » Language » Writing Books

The best books on creative writing, recommended by andrew cowan.

The professor of creative writing at UEA says Joseph Conrad got it right when he said that the sitting down is all. He chooses five books to help aspiring writers.

Becoming a Writer by Dorothea Brande

On Becoming a Novelist by John C. Gardner

On Writing: A Memoir of the Craft by Stephen King

The Forest for the Trees by Betsy Lerner

Worstward Ho by Samuel Beckett

1 Becoming a Writer by Dorothea Brande

2 on becoming a novelist by john c. gardner, 3 on writing: a memoir of the craft by stephen king, 4 the forest for the trees by betsy lerner, 5 worstward ho by samuel beckett.

How would you describe creative writing?

But because it is in academia there is all this paraphernalia that has to go with it. So you get credits for attending classes. You have to do supporting modules; you have to be assessed. If you are doing an undergraduate degree you have to follow a particular curriculum and only about a quarter of that will be creative writing and the rest will be in the canon of English literature . If you are doing a PhD you have to support whatever the creative element is with a critical element. So there are these ways in which academia disciplines writing and I think of that as Creative Writing with a capital C and a capital W. All of us who teach creative writing are doing it, in a sense, to support our writing, but it is also often at the expense of our writing. We give up quite a lot of time and mental energy and also, I think, imaginative and creative energy to teach.

Your first choice is Dorothea Brande’s Becoming a Writer , which for someone writing in 1934 sounds pretty forward thinking.

Because creative writing has now taken off and has become this very widespread academic discipline it is beginning to acquire its own canon of key works and key texts. This is one of the oldest of them. It’s a book that almost anyone who teaches creative writing will have read. They will probably have read it because some fundamentals are explained and I think the most important one is Brande’s sense of the creative writer being comprised of two people. One of them is the artist and the other is the critic.

Actually, Malcolm Bradbury who taught me at UEA, wrote the foreword to my edition of Becoming a Writer , and he talks about how Dorothea Brande was writing this book ‘in Freudian times’ – the 1930s in the States. And she does have this very Freudian idea of the writer as comprised of a child artist on the one hand, who is associated with spontaneity, unconscious processes, while on the other side there is the adult critic making very careful discriminations.

And did she think the adult critic hindered the child artist?

No. Her point is that the two have to work in harmony and in some way the writer has to achieve an effective balance between the two, which is often taken to mean that you allow the artist child free rein in the morning. So you just pour stuff on to the page in the morning when you are closest to the condition of sleep. The dream state for the writer is the one that is closest to the unconscious. And then in the afternoon you come back to your morning’s work with your critical head on and you consciously and objectively edit it. Lots of how-to-write books encourage writers to do it that way. It is also possible that you can just pour stuff on to the page for days on end as long as you come back to it eventually with a critical eye.

Get the weekly Five Books newsletter

Good! Your next book, John Gardner’s On Becoming a Novelist , is described as comfort food for the aspiring novelist.

This is another one of the classics. He was quite a successful novelist in the States, but possibly an even more successful teacher of creative writing. The short story writer and poet Raymond Carver, for instance, was one of his students. And he died young in a motorcycle accident when he was 49. There are two classic works by him. One is this book, On Becoming a Novelist , and the other is The Art of Fiction: Notes on Craft for Young Writers . They were both put together from his teaching notes after he died.

On Becoming a Novelist  is the more succinct and, I think, is the better of the two. He talks about automatic writing and the idea, just like Dorothea Brande, of the artist being comprised of two people. But his key idea is the notion of the vivid and continuous dream. He suggests that when we read a novel we submit to the logic of that novel in the same way as we might submit to the logic of a dream – we sink into it, and clearly the events that occur could not exist outside the imagination.

What makes student writing in particular go wrong is when it draws attention to itself, either through bad writing or over-elaborate writing. He suggests that these faults in the aspirant writer alert the reader to the fact that they are reading a fiction and it is a bit like giving someone who is dreaming a nudge. It jolts them out of the dream. So he proposes that the student writer should try to create a dream state in the reader that is vivid and appeals to all the senses and is continuous. What you mustn’t do is alert the reader to the fact that they are reading a fiction.

It is a very good piece of advice for writers starting out but it is ultimately very limiting. It rules out all the great works of modernism and post-modernism, anything which is linguistically experimental. It rules out anything which draws attention to the words as words on a page. It’s a piece of advice which really applies to the writing of realist fiction, but is a very good place from which to begin.

And then people can move on.

I never would have expected the master of terror Stephen King to write a book about writing. But your next choice, On Writing , is more of an autobiography .

Yes. It is a surprise to a lot of people that this book is so widely read on university campuses and so widely recommended by teachers of writing. Students love it. It’s bracing: there’s no nonsense. He says somewhere in the foreword or preface that it is a short book because most books are filled with bullshit and he is determined not to offer bullshit but to tell it like it is.

It is autobiographical. It describes his struggle to emerge from his addictions – to alcohol and drugs – and he talks about how he managed to pull himself and his family out of poverty and the dead end into which he had taken them. He comes from a very disadvantaged background and through sheer hard work and determination he becomes this worldwide bestselling author. This is partly because of his idea of the creative muse. Most people think of this as some sprite or fairy that is usually feminine and flutters about your head offering inspiration. His idea of the muse is ‘a basement guy’, as he calls him, who is grumpy and turns up smoking a cigar. You have to be down in the basement every day clocking in to do your shift if you want to meet the basement guy.

Stephen King has this attitude that if you are going to be a writer you need to keep going and accept that quite a lot of what you produce is going to be rubbish and then you are going to revise it and keep working at it.

Do you agree with him?

He sounds inspirational. Your next book, Betsy Lerner’s The Forest for the Trees , looks at things from the editor’s point of view.

Yes, she was an editor at several major American publishing houses, such as Simon & Schuster. She went on to become an agent, and also did an MFA in poetry before that, so she came through the US creative writing process and understands where many writers are coming from.

The book is divided into two halves. In the second half she describes the process that goes from the completion of the author’s manuscript to submitting it to agents and editors. She explains what goes on at the agent’s offices and the publisher’s offices. She talks about the drawing up of contracts, negotiating advances and royalties. So she takes the manuscript from the author’s hands, all the way through the publishing process to its appearance in bookshops. She describes that from an insider’s point of view, which is hugely interesting.

But the reason I like this book is for the first half of it, which is very different. Here she offers six chapters, each of which is a character sketch of a different type of author. She has met each of them and so although she doesn’t mention names you feel she is revealing something to you about authors whose books you may have read. She describes six classic personality types. She has the ambivalent writer, the natural, the wicked child, the self-promoter, the neurotic and a chapter called ‘Touching Fire’, which is about the addictive and the mentally unstable.

Your final choice is Worstward Ho by Samuel Beckett .

This is a tiny book – it is only about 40 pages and it has got these massive white margins and really large type. I haven’t counted, but I would guess it is only about two to three thousand words and it is dressed up as a novella when it is really only a short story. On the first page there is this riff: ‘Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.’

Support Five Books

Five Books interviews are expensive to produce. If you're enjoying this interview, please support us by donating a small amount .

When I read this I thought I had discovered a slogan for the classroom that I could share with my students. I want to encourage them to make mistakes and not to be perfectionists, not to feel that everything they do has to be of publishable standard. The whole point of doing a course, especially a creative writing MA and attending workshops, is that you can treat the course as a sandpit. You go in there, you try things out which otherwise you wouldn’t try, and then you submit it to the scrutiny of your classmates and you get feedback. Inevitably there will be things that don’t work and your classmates will help you to identify those so that you can take it away and redraft it – you can try again. And inevitably you are going to fail again because any artistic endeavour is doomed to failure because the achievement can never match the ambition. That’s why artists keep producing their art and writers keep writing, because the thing you did last just didn’t quite satisfy you, just wasn’t quite right. And you keep going and trying to improve on that.

But why, when so much of it is about failing – failing to get published, failing to be satisfied, failing to be inspired – do writers carry on?

I have a really good quote from Joseph Conrad in which he says the sitting down is all. He spends eight hours at his desk, trying to write, failing to write, foaming at the mouth, and in the end wanting to hit his head on the wall but refraining from that for fear of alarming his wife!

It’s a familiar situation; lots of writers will have been there. For me it is a kind of obsessive-compulsive disorder. It is something I have to keep returning to. I have to keep going back to the sentences, trying to get them right. Trying to line them up correctly. I can’t let them go. It is endlessly frustrating because they are never quite right.

You have published four books. Are you happy with them?

Reasonably happy. Once they are done and gone I can relax and feel a little bit proud of them. But at the time I just experience agonies. It takes me ages. It takes me four or five years to finish a novel partly because I always find distractions – like working in academia – something that will keep me away from the writing, which is equally as unrewarding as it is rewarding!

September 27, 2012

Five Books aims to keep its book recommendations and interviews up to date. If you are the interviewee and would like to update your choice of books (or even just what you say about them) please email us at [email protected]

Andrew Cowan

Andrew Cowan is Professor of Creative Writing and Director of the Creative Writing programme at UEA. His first novel, Pig , won the Sunday Times Young Writer of the Year Award, the Betty Trask Award, the Ruth Hadden Memorial Prize, the Author’s Club First Novel Award and a Scottish Council Book Award. He is also the author of the novels Common Ground , Crustaceans ,  What I Know  and  Worthless Men . His own creative writing guidebook is  The  Art  of  Writing  Fiction .

We ask experts to recommend the five best books in their subject and explain their selection in an interview.

This site has an archive of more than one thousand seven hundred interviews, or eight thousand book recommendations. We publish at least two new interviews per week.

Five Books participates in the Amazon Associate program and earns money from qualifying purchases.

© Five Books 2024

How to Write a Book: The Ultimate Guide (with Free Book Idea Worksheet!)

by Joe Bunting | 0 comments

Start Your Story TODAY! We’re teaching a new LIVE workshop this week to help you start your next book. Learn more and sign up here.

You want to write a book. Maybe you have a great story idea. Maybe you have a big idea you want to share with the world. Maybe people have told you, “Your life should be made into a book!” But first, you have to learn how to write a book.

The problem for the first-time author is figuring out how to get started. What are the writing habits you need to finish the actual writing for an entire book? And what comes next for your writing goals: traditional publishing? Self-publishing? Becoming a New York Times bestselling book? A long and illustrious writing career?

Because after coaching thousands of writers to write and finish their books, and also writing fifteen books of my own, I know exactly how much hard work it takes to finish a book.

It's not enough to want to write, you need to know how to write a book.

You need to have the right process. The write process, you might say (sorry, I had to!).

In this guide, we're going to learn everything about how to write a nonfiction book, from how to defeat procrastination and find writing time, all the way to revising and the editing process—and even to the publishing process.

If you've ever wanted to write a book, whether a memoir, a big idea book, or a self help book, you're in the right place.

If, on the other hand, you're a fiction writer and have a main character who you know is going to take the world by storm, we have a complete guide on novel writing here . For you nonfiction writers, though, read on for all our best writing tips.

And that free book idea worksheet ? Here's your FREE download: Book Idea Worksheet

Quick Tip: The Best Tool to Write a Book

Before we get started, here's a quick tip for writing a book, Microsoft Word just doesn't cut it.

My favorite writing tool is Scrivener, a book writing software used by the most successful writers. Scrivener helps you stay organized, set word count goals, and keep better track of your writing sessions. Check out our full review of Scrivener here.

How to Fail Writing a Book

In 2011, I had one of the best years of my life. That year, I wrote my first book, became a full-time writer, got my first book published , became a bestselling author, and had 80,000 people read my writing.

But it didn't happen overnight. I had dreamed about and had been working toward those goals for eight years before that: eight years of failure, of trying to write books and not being able to finish them, eight years of wanting to be a writer but not knowing how to actually do it .

Since then, I've written fifteen books, including one book that recently hit the Wall Street Journal bestsellers list.

You might be thinking, “That's cool, Joe. But you're clearly a talented writer. Writing is hard work for me.”

To be honest, it doesn't come easy to me. In fact, if I told my high school English teachers I'm a writer, they would probably be shocked.

The difference is that I found the right process. It's a step-by-step process that works every time, and it will work for you too.

In this guide, I'm going to share the process that I've used to write fifteen books, become a professional writer, and hit the bestsellers list.

But it's not just me. I've also trained thousands of people in our 100 Day Book program to finish books using this process, too.

It works, and it will work for you, if you follow it.

That being said, if you're still not sure you can actually do this alone, or if you just want some extra help along the way, check out 100 Day Book . In this program, we've helped thousands of aspiring writers turned authors to accomplish their dream of writing a book, and we'd love to help you, too. Click to learn more about 100 Day Book here.

How to Write a Book: 12 Steps to Writing a Book

Here's the process I finally learned after that decade of trying to learn how to write a book and failing, the same twelve steps that have helped me write fifteen books.

1. Come Up With a Great Book Idea

If you're here, you probably have a book idea already. Maybe you have several ideas.

And if that's true, great! Pat yourself on the back. You've made it to step one.

Here's what to do next: forget any sense accomplishment you have.

Yes, I'm serious.

Here's what George R.R. Martin said:

“Ideas are useless. Execution is everything.”

Because the thing is, an idea alone, even a great idea, is just the small step to write your book.

There are a lot more steps, and all of them are more difficult than coming up with your initial idea. (I'm sorry if that's discouraging!)

You have an idea. Great! Next, it's time to learn how to execute the way successful authors do. Let's get started with step 2.

(Don't have an idea yet? Check out this article: How to Write When You Don't Have Ideas .)

2. Write Your Book Idea In the Form of a 1-Sentence Premise

The next step to taking your idea and turning it into a book is to summarize your idea into a single-sentence premise.

But wait, what's a premise ?

A premise distills your entire book idea down to a single sentence. This sentence becomes the foundation of all your writing efforts and will be helpful even into publishing process.

Your premise is also the most important part of a book proposal, so a good premise can actually help you get published.

Here’s an example of a nonfiction premise from my book The Write Structure , which got half a dozen responses from agents.

The Write Structure utilizes The Write Practice’s (thewritepractice.com) award-winning methodology to show creative writers how to write their best novels, memoirs, short stories, or screenplays by following story structure principles used and taught by writers for hundreds of years.

Each nonfiction book premise should contain the following three elements:

• A problem . The problem the book aims to solve (in this case, how to write a good novel, memoir, short story, or screenplay)
• A person . Who is the person sharing the solution to that problem, e.g. you
• A solution . What is your unique process to solve that problem

By simplifying your book down to a single sentence, you create a strong, achievable foundation to your entire book. Not only will this simple step help you during the writing process, it will also help you throughout the publishing process, too, which we'll talk about more in a bit.

Ready to write your premise? To make it easier we have a free worksheet template that will guide you through writing a publishable premise: Download the worksheet here.

Or get a copy of our Write Plan Planner , and have a physical tool to guide you through the writing process. Check out the planner here.

3. Choose Your Publishing Path

When you're writing nonfiction, you have to choose your publishing path earlier than creative writers because most nonfiction books are picked up by publishers before they're written.

In fact, it's a red flag in the eyes of traditional publishers and literary agents if you've finished your book before you pitch them. They want to see a book proposal first, and have a hand in the shaping of the book.

That means, if you're writing nonfiction, and you want to get traditionally published, before you go write your own book, you must write a book proposal.

However, if you're writing a memoir, you may need to finish writing the book before you seek publishing. Memoir exists in something of a gray area in the publishing world, with more self-help focused memoirs requiring a proposal, and more creative memoirs acting more like a novel, where the writer would finish them first.

Which publishing path is right for you? Here are the two main requirements for traditional publishing for nonfiction books:

• Platform . Do you have authority within this topic? Do you have a following, via social media, speaking, podcast, YouTube, an email list, or some other platform of at least 10,000 people?
• A tested idea with mass market appeal . Does your idea line up with your platform? Does it have mass market appeal?

If you can't answer “yes” to both of these questions, then you might consider self-publishing, working with a small press, or hybrid press after you complete your book. Or taking a break from your book to build your platform and target audience, perhaps by building an author website and starting a blog. (For more on this, check out this guide on how to build a platform via a blog .)

You might be wondering, at this point too, how do you write a book proposal?

Book proposals vary across writers and publishers, but here are some of the major components:

• 1-Sentence Premise (see above)
• 2-4 paragraph synopsis
• Outline (Table of Contents)
• Tone and Writing Style
• Platform Description and Marketing Info
• 2-3 Sample Chapters

For more on this, check out Jane Friedman's excellent guide on how to write a book proposal .

Now, once you've chosen your publishing path and you're ready to begin writing a whole book, how do you actually finish it? The next steps will all but guarantee you reach The End of your book.

4. Outline Your Book

Even you if you don't decide to traditionally publish, I still recommend working through most of the elements of a book proposal listed above, especially the book outline because it will make the writing process so much easier.

Your book's outline will vary widely depending on your genre, your writing style, your book's topic, and your method.

However, there are some tried and true structures that exist in nonfiction books. Here are some suggested structures you can use:

Introduction . Most nonfiction books include a short (2,000 to 3,000 words) introduction. They usually outline the main problem you will be focusing on in the book. They may also introduce you as the author and your authority, and outline the unique solution you will be guiding readers through in your book.

8-10 Chapters . Nonfiction book chapters dive deeper into the problem and give principles or steps to solve that problem. Chapters can have a variety of different structures, but here is my personal favorite, used frequently by Malcolm Gladwell:

• Opening story
• Analysis of the story
• Universal principle
• Closing story (may be the conclusion of the opening story)

Conclusion . Conclusions usually restate the problem and show how you solved that problem, often ending with a concluding story and a call to action to encourage the reader to go out and put the ideas you've shared to use.

Easy right? Not exactly, but creating this outline will make the rest of the writing process so much easier. Even if it changes, you'll have a resource to help you get unstuck when the writing gets hard.

If you want a template for your outline, as well as a step-by-step guide through the book writing process, get a copy of our Write Plan Planner . This is the exact process that I have used to write fifteen books, and that thousands of other authors in our community have used to finish their book all in a beautiful, daily planner . Check out the planner here.

5. Set a Deadline

This one might surprise you. Because most people think that once you've got your idea ready to go, you should just start writing and not worry about the period of time it takes.

Nope. Not even close.

The next step is to set a deadline for when you're going to finish the first rough draft of your book. But you might be wondering, how long does it take to write a book in the first place?

How long should you set your deadline for?

Some people use NaNoWriMo, or National Novel Writing Month, to set their deadline for them, writing 50,000 words of book in the thirty days of November. That being said, it's very challenging for most people to finish a book in thirty days.

Stephen King, on the other hand, said the first draft of a book should take no more than a season, so three months. With all due respect to Stephen King, I think that's a little fast for most people.

We give people 100 days , which seems to be just long enough to write a first draft without getting distracted by everything else the world wants you to focus on (looking at you, social media).

So for you, give yourself a week or two to prepare, then set your deadline for about 100 days after that.

There you go! You now have a deadline to finish your book!

6. Break Your Deadline Into Weekly and Daily Word Counts

You can't pull an all-nighter and finish writing a book. Trust me, I've tried!

Instead, you have to break up your deadline into smaller, weekly, and daily deadlines so you can make measured progress over your writing period. This step breaks the work into manageable pieces.

This step also requires a bit of math. Here's how to do it so you can actually stay on track:

• Figure out your book's ideal target word count goal (check out our word count guide )
• Figure out how many weeks until your deadline (e.g. 100 days = 14.5 weeks)
• Divide your book's total word count by the number of weeks (e.g. 45,000 ÷ 14.5 = 3,103 words per week)
• Next, figure out how many days per week you're going to write (e.g. 5 days a week)
• Finally, divide your weekly word count goal by the number of days you'll write to get your daily word count goal (e.g. 3,103 ÷ 5. = 621 words per day)

If you can hit all of your weekly and daily deadlines, you know you’ll make your final deadline at the end.

P.S. You're much more likely to actually meet your deadlines if you take a stand and set a consequence, which I”ll talk about next.

7. Take a Stand

Deadlines are nice, but it can be too easy to follow Douglas Adams' advice:

I love deadlines. I love the whooshing sound they make as they go by.

There are two tricks that will help you actually meet your deadline, and it's essential to do these before you start writing or you'll never finish your book.

The first one is a little scary, but will make a huge difference.

Once you've set your deadline, go tell everyone you know. Post your deadline on social media, saying something like this:

Here. We'll even make it easy for you. Just click the share button below to tweet this and fill in the blank with your deadline:

Don't have social media? That's okay. Just email five friends. These friends will become your accountability partners to ensure you finish your book.

Important: I don't recommend talking about your book idea. Talking about the idea can actually remove some of the motivation to actually work on your book.

But I highly recommend talking about your book's deadline because humans naturally avoid letting each other down. When you make a public promise to do something, you're much more likely to do it!

So go ahead. Share your deadline. You can do this right now. Don't worry, we'll be here when you get back.

Then, move on to the next trick to keep your deadline.

8. Set a Consequence

You might think, “Setting a deadline is fine, but how do I actually hit my deadline?”

The answer is you need to create a consequence. A consequence is a bad thing that happens if you don't hit your deadline.

Maybe you write a check to a charity you hate, like the society for the euthanasia of puppies, you give it to a friend, and you say, “You have to send this check if I don't hit my deadline.”

Or maybe you say you're going to give up a guilty pleasure if you don't hit your deadline, like ice cream or wine or TV or your favorite phone game.

Set a really tough consequence for your final deadline, and then set a couple of less severe consequences for your weekly deadlines.

Whatever you choose, make it really hard to not hit your deadline.

Why? Because writing is hard! If you want to write a book, you need to make not writing harder than writing.

By creating a consequence, you make not writing harder than the actual writing, and this simple trick will make you much more likely to finish.

9. Set an Intention

This is the last step before you start writing, but secretly one of the most helpful.

Set an intention.

Studies have shown that when you have a goal, like working out more or writing a book, and you imagine where , when , and how much you're going to do something, you're much more likely to actually do it.

So do this with me:

• Close your eyes, and imagine your ideal writing space , the place you're going to spend your writing time. Maybe it's a coffee shop or your home office or a chair beside your favorite window.
• Next, imagine what time it is . Is it the morning? Afternoon? Late at night after everyone's gone to bed?
• Finally, picture yourself writing, and watch yourself reach your daily word count goal . Imagine how it feels to accomplish your goal. Great? A relief?
• Then, write all of that down, locking your intention in place . Now that you have a set writing schedule, follow it!

Notice that this is the tenth step.

Most people start here, but without the groundwork you've laid in the previous nine steps, you're setting yourself up for failure.

Don't skip the first nine steps!

Once you do begin writing, keep this in mind:

First drafts are universally bad .

Don't try to write perfect sentences. Don't go back and edit endlessly.

No, instead write as fast as you're able. Get to “the end” as quickly as you can. Use writing sprints .

Try to write as imperfectly as you can, not because you want to write a bad book, but because this is how writing always is: you write a bad first draft and then revise it into a better second draft—and finally, three or five drafts later, you've written a good book.

The difference between aspiring writers and published authors is that published authors know you can't do good writing until you write a bad draft first. Get through it as quickly as you can!

If you're not a natural writer , consider dictating your book into a recorder, and transcribing it afterward. There's no reason you have to physically type out your book. Transcribing it is a perfectly viable way to create a good first draft.

11. Revise, Rewrite, and Edit

After you finish your first draft comes the real hard part.

I know what you're thinking. The first ten steps weren't hard enough?

Yes, of course they were hard. But for some reason, second drafts can be just as hard, if not harder, than first drafts. I've had some of my biggest mental and emotional breakdowns in my life while working on the second draft of a book. There's just something about second drafts that are much more mentally challenging than first drafts.

Here, it's a good idea to get an editor who can give you feedback. (Need an editor recommendation? We have a team of editors we work with here at The Write Practice. Check out our process and get a quote here .)

Once you've finished your second draft, I also recommend getting beta readers, people who can read your book and give you feedback. For more on this, check out our guide on how to find beta readers and use their feedback effectively here .

Depending on your topic, you might also consider recruiting some sensitivity readers to read your book, too.

After you've done all of this, I have one last writing tip for you to ensure you actually finish writing your book—and it might be the most important of all.

12. Don't Stop

Most people want to write a book. I hear from people all the time that think they have a book in them, who believe that they have a story that needs to be shared.

I very rarely talk to people who have finished a book.

Writing a book is hard.

It's SO easy to quit. You get a new idea. Or you read your writing and think, “This is terrible.” Or you decide, “I'd rather be catching up on Netflix, not spending my nights writing.”

Because of this, you quit.

Here's the thing though: the only way to fail at writing a book is to quit .

If you don't quit, if you just keep writing, keep following this process we've outlined above, you will finish a book.

It might not be a good book (yet). But that's what editing is for.

It will be a first draft, and a finished draft at that . You can't write a second draft and start to make your book actually good, actually publishable, until you write the first draft.

So write. Don't stop. Don't quit. If you follow these steps and don't stop, you'll finish.

We'll be here supporting you along the way.

More Resources on How to Write a Book

Still feeling stuck? Have more questions about how to write a book? We've put together a library of book-writing resources. Take a look at the articles below.

Book Writing Tools and Programs

• 100 Day Book . Get a mentor, 100+ writing lessons, deadlines, and accountability and write your book in a program that works. Thousands of authors have finished their books in 100 Day Book, and we'd love to help you too. Click to sign up for 100 Day Book here.
• The Write Plan Planner. Containing everything we've learned about how to write a book over the last 10+ years, this step-by-step guide will walk you through our proven book writing process. Click to get your daily book writing planner.
• Best Book Writing Software . A variety of the best tools for writing, publishing, formatting, and marketing your book.

How to Write a Book Fast Articles

I shared above why I believe that first drafts should be written quickly, in just a few weeks. Still not sure? In the articles below, dozens of other writers share how they wrote fast first drafts, plus you'll get all the tips and strategies they learned along the way.

• How to Write a Book in 100 Days: 10 Steps
• How to Write a Book FAST
• How to Write a Book in 100 Days
• How to Write a Novel in 6 Months
• The First 10 Steps to Write Your Book in 2020
• How to Right a Book in Nine (Not So) Easy Steps
• How to Finish a Novel With a Swim Buddy
• How to Write a Book Using Microsoft Word

How to Write a Book by Genre

Every genre comes with specific expectations that must be fulfilled. Here's how to craft an amazing story in your genre.

• How to Write a Novel
• How to Write a Memoir
• How to Write a Mystery Novel
• How to Write a Suspense Novel
• How to Write a Thriller Novel
• How to Write a Romance Novel
• How to Write an Adventure Book
• How to Write a Coming of Age Novel
• How to Write a Young Adult Novel
• How to Write a Self-Help Book
• How to Write a Book That's Based on a True Story
• How to Write a Book Like Stephen King
• 20 Sci-Fi Creative Writing Prompts and Story Ideas

Okay, no, Stephen King isn't a genre. But he's well worth learning from!

How to Write a Book When Writing Is Hard

Let's face it: writing is hard . Every single writer struggles at some point in their book. The important thing is not to quit . In the following articles, writers share how they persevered through the hard parts, and how you can too.

• How to Write a Book While Working Full Time
• How to Write a Book When You Don't Have Ideas
• How to Write a Book When You’ve Got Writer’s Block
• I Never Thought I Would Write a Book. Here's How I Did It Anyway
• How to Write a Book: The Everest Method
• 10 Obstacles to Writing a Book and How to Conquer Them

How to Write a Book With a Specific Style

Your book comes with its own unique quirks and challenges, especially if the story you're telling is a series, or is told from multiple perspectives. Here's how other writers have navigated these choices.

• How to Write a Book from Multiple Perspectives
• How to Write a Book Series Without Messing Things Up
• How to Write a Novel That Readers Can't Put Down

How to Write a Book and Publish It

Writing is meant to be shared! In these articles, writers break down the publishing process so you can finish your book and share it with the world.

• How to Write and Publish a Book for Free
• How to Write a Book Description That Will Captivate Readers (And Sell Books!)

Publishing Resources

Once you've finished writing a book, how do you get it published. Here are some resources to help.

• Amazon KDP. Self-publish your book on Kindle to the world's biggest book marketplace.
• Book Cover Design . Find a book cover designer among our favorite designers.

Commit to the Book Writing Process, Not Your Feelings

Are you ready to commit to finishing your book?

I don't want you to commit to a book idea. Ideas are seductive, but then you get a fresh idea and the idea you've been working on becomes much less interesting.

You probably have had inspiring moments of writing, when everything feels like it's flowing. But I don't want you to commit to a feeling. Feelings are fickle. They change by the hour.

No, instead commit to the process.

If you follow these steps, you will finish a book. It won't be easy. It will still be a challenge. But you'll do it.

Can you imagine how great it will feel to write “The End” on your own book? Think about the people you will touch because you finished that book. Let's get to it together.

Are you going to commit to writing a book? Let me know in the comments !

The first part of Step Three is to create a 1-sentence premise of your book.

Spend fifteen minutes today to rewrite your book idea into a single-sentence premise. Then, share your premise in the Pro Practice Workshop here.  (and if you’re not a member yet, you can join here ).

Finally, after you share, make sure to give feedback to three other writers.

Happy writing!

Joe Bunting

Joe Bunting is an author and the leader of The Write Practice community. He is also the author of the new book Crowdsourcing Paris , a real life adventure story set in France. It was a #1 New Release on Amazon. Follow him on Instagram (@jhbunting).

Want best-seller coaching? Book Joe here.

Work with Joe Bunting?

WSJ Bestselling author, founder of The Write Practice, and book coach with 14+ years experience. Joe Bunting specializes in working with Action, Adventure, Fantasy, Historical Fiction, How To, Literary Fiction, Memoir, Mystery, Nonfiction, Science Fiction, and Self Help books. Sound like a good fit for you?

Submit a Comment Cancel reply

Your email address will not be published. Required fields are marked *

Submit Comment

Join over 450,000 readers who are saying YES to practice. You’ll also get a free copy of our eBook 14 Prompts :

Popular Resources

Best Resources for Writers Book Writing Tips & Guides Creativity & Inspiration Tips Writing Prompts Grammar & Vocab Resources Best Book Writing Software ProWritingAid Review Writing Teacher Resources Publisher Rocket Review Scrivener Review Gifts for Writers

Books By Our Writers

You've got it! Just us where to send your guide.

Enter your email to get our free 10-step guide to becoming a writer.

You've got it! Just us where to send your book.

Enter your first name and email to get our free book, 14 Prompts.

Want to Get Published?

Enter your email to get our free interactive checklist to writing and publishing a book.

Elements of Creative Writing

(3 reviews)

J.D. Schraffenberger, University of Northern Iowa

Rachel Morgan, University of Northern Iowa

Grant Tracey, University of Northern Iowa

Copyright Year: 2023

ISBN 13: 9780915996179

Publisher: University of Northern Iowa

Language: English

Formats Available

Conditions of use.

Learn more about reviews.

Reviewed by Colin Rafferty, Professor, University of Mary Washington on 8/2/24

Fantastically thorough. By using three different authors, one for each genre of creative writing, the textbook allows for a wider diversity of thought and theory on writing as a whole, while still providing a solid grounding in the basics of each... read more

Comprehensiveness rating: 5 see less

Fantastically thorough. By using three different authors, one for each genre of creative writing, the textbook allows for a wider diversity of thought and theory on writing as a whole, while still providing a solid grounding in the basics of each genre. The included links to referred texts also builds in an automatic, OER-based anthology for students. Terms are not only defined clearly, but also their utility is explained--here's what assonance can actually do in a poem, rather than simply "it's repeated vowel sounds,"

Content Accuracy rating: 5

Calling the content "accurate" requires a suspension of the notion that art and writing aren't subjective; instead, it might be more useful to judge the content on the potential usefulness to students, in which case it' s quite accurate. Reading this, I often found myself nodding in agreement with the authors' suggestions for considering published work and discussing workshop material, and their prompts for generating creative writing feel full of potential. It's as error-free, if not more so, than most OER textbooks (which is to say: a few typos here and there) and a surprising number of trade publications. It's not unbiased, per se--after all, these are literary magazine editors writing the textbook and often explaining what it is about a given piece of writing that they find (or do not find) engaging and admirable--but unbiased isn't necessarily a quantity one looks for in creative writing textbooks.

Relevance/Longevity rating: 4

The thing about creative writing is that they keep making more of it, so eventually the anthology elements of this textbook will be less "look what's getting published these days" and more "look what was getting published back then," but the structure of the textbook should allow for substitution and replacement (that said, if UNI pulls funding for NAR, as too many universities are doing these days, then the bigger concern is about the archive vanishing). The more rhetorical elements of the textbook are solid, and should be useful to students and faculty for a long time.

Clarity rating: 5

Very clear, straightforward prose, and perhaps more importantly, there's a sense of each author that emerges in each section, demonstrating to students that writing, especially creative writing, comes from a person. As noted above, any technical jargon is not only explained, but also discussed, meaning that how and why one might use any particular literary technique are emphasized over simply rote memorization of terms.

Consistency rating: 4

It's consistent within each section, but the voice and approach change with each genre. This is a strength, not a weakness, and allows the textbook to avoid the one-size-fits-all approach of single-author creative writing textbooks. There are different "try this" exercises for each genre that strike me as calibrated to impress the facets of that particular genre on the student.

Modularity rating: 5

The three-part structure of the book allows teachers to start wherever they like, genre-wise. While the internal structure of each section does build upon and refer back to earlier chapters, that seems more like an advantage than a disadvantage. Honestly, there's probably enough flexibility built into the textbook that even the callbacks could be glossed over quickly enough in the classroom.

Organization/Structure/Flow rating: 5

Chapters within each genre section build upon each other, starting with basics and developing the complexity and different elements of that genre. The textbook's overall organization allows some flexibility in terms of starting with fiction, poetry, or nonfiction.

Interface rating: 4

Easy to navigate. I particularly like the way that links for the anthology work in the nonfiction section (clearly appearing at the side of the text in addition to within it) and would like to see that consistently applied throughout.

Grammatical Errors rating: 5

A few typos here and there, but you know what else generally has a few typos here and there? Expensive physical textbooks.

Cultural Relevance rating: 5

The anthology covers a diverse array of authors and cultural identities, and the textbook authors are not only conscious of their importance but also discuss how those identities affect decisions that the authors might have made, even on a formal level. If you find an underrepresented group missing, it should be easy enough to supplement this textbook with a poem/essay/story.

Very excited to use this in my Intro to CW classes--unlike other OERs that I've used for the field, this one feels like it could compete with the physical textbooks head-to-head. Other textbooks have felt more like a trade-off between content and cost.

Reviewed by Jeanne Cosmos, Adjunct Faculty, Massachusetts Bay Community College on 7/7/24

Direct language and concrete examples & Case Studies. read more

Direct language and concrete examples & Case Studies.

References to literature and writers- on track.

Relevance/Longevity rating: 5

On point for support to assist writers and creative process.

Direct language and easy to read.

First person to third person. Too informal in many areas of the text.

Units are readily accessible.

Process of creative writing and prompts- scaffold areas of learning for students.

Interface rating: 5

No issues found.

The book is accurate in this regard.

Cultural Relevance rating: 4

Always could be revised and better.

Yes. Textbook font is not academic and spacing - also not academic. A bit too primary. Suggest- Times New Roman 12- point font & a space plus - Some of the language and examples too informal and the tone of lst person would be more effective if - direct and not so 'chummy' as author references his personal recollections. Not effective.

Reviewed by Robert Moreira, Lecturer III, University of Texas Rio Grande Valley on 3/21/24

Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama. read more

Comprehensiveness rating: 4 see less

Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama.

As far as I can tell, content is accurate, error free and unbiased.

The book is relevant and up-to-date.

The text is clear and easy to understand.

Consistency rating: 5

I would agree that the text is consistent in terms of terminology and framework.

Text is modular, yes, but I would like to see the addition of a section on dramatic writing.

Topics are presented in logical, clear fashion.

Navigation is good.

No grammatical issues that I could see.

Cultural Relevance rating: 3

I'd like to see more diverse creative writing examples.

As I stated above, textbook is good except that it does not include a section on dramatic writing.

Table of Contents

• Introduction
• Chapter One: One Great Way to Write a Short Story
• Chapter Two: Plotting
• Chapter Three: Counterpointed Plotting
• Chapter Four: Show and Tell
• Chapter Five: Characterization and Method Writing
• Chapter Six: Character and Dialouge
• Chapter Seven: Setting, Stillness, and Voice
• Chapter Eight: Point of View
• Chapter Nine: Learning the Unwritten Rules
• Chapter One: A Poetry State of Mind
• Chapter Two: The Architecture of a Poem
• Chapter Three: Sound
• Chapter Four: Inspiration and Risk
• Chapter Five: Endings and Beginnings
• Chapter Six: Figurative Language
• Chapter Seven: Forms, Forms, Forms
• Chapter Eight: Go to the Image
• Chapter Nine: The Difficult Simplicity of Short Poems and Killing Darlings

Creative Nonfiction

• Chapter One: Creative Nonfiction and the Essay
• Chapter Two: Truth and Memory, Truth in Memory
• Chapter Three: Research and History
• Chapter Four: Writing Environments
• Chapter Five: Notes on Style
• Chapter Seven: Imagery and the Senses
• Chapter Eight: Writing the Body
• Chapter Nine: Forms

Back Matter

• Contributors
• North American Review Staff

Ancillary Material

• University of Northern Iowa

About the Book

This free and open access textbook introduces new writers to some basic elements of the craft of creative writing in the genres of fiction, poetry, and creative nonfiction. The authors—Rachel Morgan, Jeremy Schraffenberger, and Grant Tracey—are editors of the North American Review, the oldest and one of the most well-regarded literary magazines in the United States. They’ve selected nearly all of the readings and examples (more than 60) from writing that has appeared in NAR pages over the years. Because they had a hand in publishing these pieces originally, their perspective as editors permeates this book. As such, they hope that even seasoned writers might gain insight into the aesthetics of the magazine as they analyze and discuss some reasons this work is so remarkable—and therefore teachable. This project was supported by NAR staff and funded via the UNI Textbook Equity Mini-Grant Program.

About the Contributors

J.D. Schraffenberger  is a professor of English at the University of Northern Iowa. He is the author of two books of poems,  Saint Joe's Passion  and  The Waxen Poor , and co-author with Martín Espada and Lauren Schmidt of  The Necessary Poetics of Atheism . His other work has appeared in  Best of Brevity ,  Best Creative Nonfiction ,  Notre Dame Review ,  Poetry East ,  Prairie Schooner , and elsewhere.

Rachel Morgan   is an instructor of English at the University of Northern Iowa. She is the author of the chapbook  Honey & Blood , Blood & Honey . Her work is included in the anthology  Fracture: Essays, Poems, and Stories on Fracking in American  and has appeared in the  Journal of American Medical Association ,  Boulevard ,  Prairie Schooner , and elsewhere.

Grant Tracey   author of three novels in the Hayden Fuller Mysteries ; the chapbook  Winsome  featuring cab driver Eddie Sands; and the story collection  Final Stanzas , is fiction editor of the  North American Review  and an English professor at the University of Northern Iowa, where he teaches film, modern drama, and creative writing. Nominated four times for a Pushcart Prize, he has published nearly fifty short stories and three previous collections. He has acted in over forty community theater productions and has published critical work on Samuel Fuller and James Cagney. He lives in Cedar Falls, Iowa.

Contribute to this Page

Essential Books for Writers

The Center for Fiction

Maybe calling our list "Essential Books for Writers" is a bit of a stretch. We know that there are many opinions on what makes great writing, and what works for one person may not work for the next. Can you imagine Ernest Hemingway, Flannery O'Connor, and Charles Dickens debating about the right way to write? But we wanted to give you some options and inspiration on your path to whatever a successful life as a writer looks like to you. We hope you'll find your essential guide in our list. Happy reading and writing!

By Stephen King

Published by Scribner

Leave it to the literary rock star to compose a craft book that’s as entertaining as a good novel. “This is a short book because most books about writing are filled with bullshit,” King writes. What follows is a witty, practical, and sometimes poignant guide that is refreshingly devoid of the aforementioned BS. King relates his personal story of becoming a writer, then offers a “toolkit” of clear advice about everything from dialogue and descriptive passages to revisions and the head game. And there’s more: tips for beginning writers on submitting work for publication, a mark-up of one of King’s own manuscripts, and a reading list. You might not be awake at 3 a.m. turning these pages, but we promise  On Writing  will open your eyes to essential tricks of the trade.

Still Writing

By Dani Shapiro

Published by Grove/Atlantic

Dani Shapiro’s book,  Still Writing: The Perils and Pleasures of a Creative Life , is a perfect walk through an imperfect process. She shares the tried and true rules that some aspiring writers may want to hear, like using the five senses, sticking to a work schedule, and avoiding clichéd characters; but it is the places where Shapiro acknowledges the ambiguity of the process that stand out. Peppered with personal history and insight into how and where she created novels like  Black and White  as well as acclaimed memoirs  Devotion  and  Slow Motion , Shapiro gives us a road map to writing with one simple direction at its heart: Keep writing. The rules she lays out are meant to be broken; no life-story is more worthy of being written than any other; no process (unless it involves surfing the Web instead of actually writing) is wrong. Yes, Dani Shapiro is still writing, and because she possesses that all-important need to create, it seems she will be doing so for quite some time.

On Moral Fiction

By John Gardner

Published by HarperCollins

John Gardner’s  On Moral Fiction , by now a well-known classic, is as relevant in its exploration of the obligations of literature as when it was first published in 1979. Gardner discusses art and criticism, concluding that the artist has a responsibility to produce “moral” works for the sake of society. “Art discovers, generation after generation, what is necessary to humanness,” says Gardner. By linking literature to such elemental ideas as immortality and death, entropy and truth, Gardner dramatizes the act of writing itself, coloring literature and criticism with such vitality and excitement that it is hard not to become exhilarated. “Art gropes,” Gardner says. “It stalks like a hunter lost in the woods, listening to itself and to everything around it, unsure of itself, waiting to pounce.” You might say that some of his ideas are outrageous or unconventional, but none of them lack the ability to provoke us.

First You Write

By Joni Rodgers

It’s fitting that Joni Rodgers’s  First You Write: The Worst Way to Become an Almost Famous Author and the Best Advice I Got While Doing It  is available only as an e-book. Rodgers’s writes with wit and candor not only about her circuitous route to becoming a  New York Times bestselling memoirist ( Bald in the Land of Big Hair , a searingly funny account of her journey through cancer) and a critically acclaimed small-press novelist ( Crazy for Trying ;  Sugar Land ), but also about her pioneering adventures in self-publishing on Kindle. Rodgers’s willingness to experiment (isn’t that what artists do?) and to turn preconceived publishing notions on their ear is wonderfully refreshing, and her whip-smart observations will keep you turning (virtual) pages.

The Forest for the Trees

By Betsy Lerner

Published by Penguin

Betsy Lerner’s  The Forest for The Trees  begins as a psychological compendium of the writer’s life; written to the writer, with love. Lerner diagnoses writers: the ambivalent, the natural, the neurotic, and as we relate to aspects of each, we are delivered through an embarrassing adolescence of our own writerly growth, discovering who we were, are, and might better be. Through humorous and often moving anecdotes and a wealth of quotable quotes, we sweep through the personal and into the political landscape of the literary industry. Like all good books, Lerner’s reflects the reader (as writer) back to herself at every moment. She morphs between midwife and editor, weaving stories that teach us how best to birth our own.

The Writing Life

By Annie Dillard

In the years since its original publication, Annie Dillard’s  The Writing Life  has become a must-read for aspiring writers of all walks. Perhaps this is because her approach to the creative process manages a kind of golden ratio, a balance of magic and pragmatism that continues to reveal its depths to writers of the 21st century. Plainly, this is not a field guide. Dillard does not draw a tidy map. She does the opposite, acknowledging the unknown and unknowable wilderness that every writer must face. “The line of words is a miner’s pick, a wood carver’s gouge, a surgeon’s probe. You wield it, and it digs a path you follow. Soon you find yourself deep in new territory. Is it a dead end, or have you located the real subject? You will know tomorrow, or this time next  year.” A master in the art of illumination, she focuses on the edges of big ideas. The resulting work is as mystifying as it is enduring.

Writing Past Dark

By Bonnie Friedman

In  Writing Past Dark , Bonnie Friedman shines a light on the hidden ways we mess ourselves up—with envy, fear, distraction, and other self-defeating habits of mind. “Successful writers are not the ones who write the best sentences. They are the ones who keep writing,” she says. “They are the ones who discover what is most important and strangest and most pleasurable in themselves, and keep believing in the value of their work, despite the difficulties.” With warmth and candor, Friedman offers insights into surmounting those tricky obstacles.

The Elements of Style

By William Strunk & E.B. White

Of the hundreds of volumes written about the art and craft of writing,  The Elements of Style  by William Strunk and E.B. White is the elegant granddad. This slim volume offers no touchy-feely solutions for writer’s block, no inspirational exercises, and no musings on the writing life. Instead, it contains clear, concise rules for writing well, delivered with panache. Whether you strive for formal excellence or stylistic innovation, whether you’re a first-time author or have a string of publications to your name, there’s something here to learn—or gladly rediscover.

By Robert McKee

Robert McKee (the renowned screenwriting guru whose real-life teaching persona was portrayed by Brian Cox in the film  Adaptation ) is required reading, but not just for screenwriters. He illustrates good plotting and structure that can make your novels or short stories as gripping as your favorite film. In Story , McKee structures his advice by first broadly stating a principle of writing, then expounding on different ways it can be applied, with examples from all kinds of scripts. His pearls of wisdom have been legendary in the Hollywood world, and they’ll certainly stick in your head after you’re through this book. Whether you’re writing for the screen or the page, this fantastic book will help you break your work down to the core of why we write fiction in the first place: the story.

Making Shapely Fiction

By Jerome Stern

Published by W. W. Norton

It’s easy, when one is far enough along in the “writing life,” to assume that a manual won’t have much to offer beyond technical guidance and fluffy prompts. But Stern’s wise and thorough little book should be as indispensable to the master of the form as the student. Like Stern himself, who was the head of the Creative Writing Program at Florida State University for many years, it takes a brass tacks approach to fiction, one that can be read straight through if you want to bone up on the basics or in bits and pieces as inspiration is needed. The “shapes” in question are sixteen storytelling archetypes which Stern breaks down in the book’s first section, followed by a tongue-in-cheek section on whether or not to write what you know, and finally a glossary of terms “from Accuracy to Zig-Zag.” This may all sound like stuff you already know, but to read them again in Stern’s irreverent voice is like revisiting fairy tales from your childhood and discovering all the dirty parts that went over your head. You’ll want to dig back into your own discarded ideas box and sculpt something new.

Steering the Craft

By Ursula K. Le Guin

Published by Houghton Mifflin Harcourt

Le Guin has published two books about writing. The more recent of these,  Steering the Craft  (1998), is intended for experienced writers, the ones, she says, who “blow all Rules of Writing to bits.” It offers exercises and advice on storytelling, point of view, and grammar. For the younger author, there is her 1979 volume,  The Language of the Night , filled with inspirational essays on science fiction and fantasy, that are no less rigorous than the later book. “In art,” she observes, “‘good enough’ is not good enough.”

Discover Our Fiction, Essays & More

Building Characters is a Piece of (Layer) Cake

Writing and Madness

Think Outside the Book

When Working on Your Writing Doesn't Look Like Writing

From Scratch

Interviewing for Fiction

The Writer's Trove

Something to Do with Work as Play: David Foster Wallace and “The Nature of the Fun”

Keeping Up the Pace

Scenes & Summary

An Unfunny Essay About Humor

Say Yes to Obsession

How to Steal Stuff

Writing to the Tension

How Walter White Can Make You a Better Writer

Inventing Time

Three-Dimensional Writing

How to Get Out of the Slush Pile

Playing With Status

25 best books on writing books for authors that want to master their craft

When I decided I wanted to be a writer, I got my hands on everything I could about plotting, prose, story and character development and the art of creative writing.

Here’s what I learned: the majority of books from famous writers are self-reflecting memoirs with a handful of good life lessons. Inspirational, but not  useful.

Although – I will add – sometimes inspiration is  exactly the missing piece; because without a burning desire to succeed as a writer, few authors will take the time to master their craft.

What is “craft”? Craft is the skill of doing something well; of  making something.

In my opinion, 

Craft is the “how”. Art is the “why.”

Most writers and even many gurus (especially the famous writers) only focus on the art, the why, the passion. But writing a passionate book is not the same as writing a good book.

YOU do not get to define the quality, or the value of your work – that depends on its impact, which means ultimately, readers will decide for themselves (although you can get better at communicating the value).

I’ll also point out, when most people talk about the craft of writing, they’re actually talking  about the art: the flowery, ornamental, sentence-by-sentence choice of words that few real readers will care about. While pretty writing can be an effective additional  feature of a book, it  is not  the book.

So when I talk about the craft of writing, I’m talking about the nuts-and-bolts, universal tips, tools, lessons, techniques and strategies that you can actually use to avoid common amateur mistakes and make your manuscript stronger.

In my opinion, there are too few books like this: and instead a whole bunch of completely separate, unique approaches, so that when you read them all, you’re actually left to pick and choose or assimilate as many useful approaches as possible.

That’s why I wrote BookCraft: a complete system to writing books readers love .

But it took me a PhD, a few dozen books and a decade to get there, and I’m indebted to the insights of many great writers who came before me; peers in my field or the publishing industry; and story experts.

Best Books on Writing Books

So without further ado, these are what I think are the  most useful books for authors who are determined to improve their writing. PS. I’m also including some “author writing business” books – because the first step to good writing is understanding that art is creativity focused into an object of value.

Figuring out who your audience is, what they expect and appreciate, and how to make them happy will be critical to your success, confidence, skill and writing craft (because the more people like your writing, and the faster you see favorable results, the more likely you’re going to persevere and move from inexperienced to masterful.)

I didn’t list them in preference, but my top three: nobody wants to read your shit; plot perfect; and write from the middle.

1. “On Writing: A Memoir of the Craft” by Stephen King

Stephen King’s “On Writing” is part autobiography, part writing masterclass. It’s divided into several sections, each offering unique insights into the writing process.

Key writing advice:

• Write with the door closed, rewrite with the door open. This means to write your first draft for yourself, then consider your audience during revision.
• Set a daily writing goal. King suggests 1000 words per day, six days a week.
• Read a lot and write a lot. King emphasizes that these are the two most important things a writer can do to improve their craft.
• Avoid passive voice and adverbs. King believes these weaken writing.
• “The road to hell is paved with adverbs.”
• Use vocabulary that feels natural to you. Don’t try to impress with big words.
• Story is more important than plot. Let your characters drive the story.

King also provides practical advice on creating a writing space, finding an agent, and dealing with rejection. His frank discussion of his own struggles with addiction adds a personal touch that many readers find inspiring.

2. “Bird by Bird: Some Instructions on Writing and Life” by Anne Lamott

Anne Lamott’s “Bird by Bird” is known for its warmth, humor, and practical advice. The title comes from a childhood anecdote about her brother struggling with a bird report, to which their father advised, “Just take it bird by bird.”

• Write “shitty first drafts.” Lamott emphasizes that all good writing starts with terrible first efforts.
• Focus on short assignments. Instead of thinking about writing a whole book, focus on filling a small picture frame with words.
• Listen to your “broccoli.” This metaphor encourages writers to trust their intuition.
• Use index cards to jot down ideas whenever they come to you.
• Develop your characters through their actions, not just descriptions.
• “Perfectionism is the voice of the oppressor.” Don’t let the pursuit of perfection paralyze you.
• Writing groups can be helpful, but choose them carefully.

Lamott’s book is less about technical writing skills and more about the emotional and psychological aspects of being a writer. She offers advice on dealing with jealousy, writer’s block, and the fear of failure.

3. “The Elements of Style” by William Strunk Jr. and E.B. White

This classic guide to writing is concise yet comprehensive. It focuses on the fundamental principles of English usage and composition.

• Use active voice. “The dog bit the man” is more direct than “The man was bitten by the dog.”
• Be concise. “Omit needless words” is one of the book’s most famous pieces of advice.
• Use parallel construction on concepts that are parallel. For example, “He liked to eat apples and to swim in the lake” should be “He liked to eat apples and swim in the lake.”
• Place emphatic words at the end of a sentence.
• Use definite, specific, concrete language.
• Avoid fancy words. “Use” is better than “utilize.”
• Do not overwrite or overstate.
• Avoid qualifiers like “very,” “little,” “pretty.”

While some modern writers find parts of “The Elements of Style” outdated, its core principles of clarity and concision remain valuable.

4. “Writing Down the Bones: Freeing the Writer Within” by Natalie Goldberg

Natalie Goldberg’s approach combines writing practice with Zen meditation principles. Her book focuses on the process of writing rather than the product.

• Practice “freewriting.” Write for a set time without stopping or editing.
• “Keep your hand moving.” Don’t pause to reread what you’ve written until you’re done.
• “Don’t cross out.” Even if you write something you didn’t mean to write, leave it.
• “Don’t worry about punctuation, spelling, grammar.” That can be fixed later.
• “Lose control.” Let go of your inner critic while writing.
• “Go for the jugular.” If something scary comes up, dive right into it.
• Use specific details. “Don’t tell readers what to feel. Show them the situation, and that feeling will awaken in them.”
• Write from “first thoughts,” the way your mind first flashes on something.

Goldberg’s book is particularly useful for writers struggling with self-doubt or writer’s block. It encourages a mindful, meditative approach to writing that can help unlock creativity.

5. “Save the Cat! Writes a Novel” by Jessica Brody

Based on Blake Snyder’s screenwriting guide, Brody’s book applies the “Save the Cat!” beat sheet to novel writing. It provides a structured approach to plotting and pacing.

• Use the “Save the Cat!” beat sheet, which includes 15 key plot points every story should have.
• Start with a “killer logline” that summarizes your story in one sentence.
• Your protagonist should have a “save the cat” moment early on to make them likable.
• The “catalyst” (inciting incident) should happen by 10% of the way through your book.
• Include a “dark night of the soul” where all seems lost for your protagonist around 75% of the way through.
• End with a “final image” that’s a mirror of your opening image, showing how much has changed.
• Identify your story’s genre and study its conventions.
• Create a “story spine” before you start writing, but be flexible as you draft.

Brody’s book is particularly useful for writers who struggle with structure or for those working on their first novel. It provides a clear roadmap for plotting, while still allowing room for creativity within that structure.

6. “The Artist’s Way” by Julia Cameron

Julia Cameron’s “The Artist’s Way” is a 12-week course designed to unblock creativity and foster artistic recovery. While not exclusively about writing, it has been embraced by many writers as a tool for overcoming creative blocks.

• Practice “Morning Pages”: Write three pages of stream-of-consciousness writing every morning.
• Take yourself on weekly “Artist Dates”: Solo expeditions to explore something that interests you.
• Use “affirmations” to combat negative self-talk about your creativity.
• “Creativity is God’s gift to us. Using our creativity is our gift back to God.”
• Pay attention to “synchronicity”: Seemingly coincidental events that can inspire your work.
• Protect your “artist child” from critical voices, both internal and external.
• Recognize and combat your personal “censor,” the internal voice of judgment.
• “Progress, not perfection” is the goal in creative recovery.

Cameron’s approach is spiritual and holistic, focusing on nurturing the artist as a whole person rather than just developing technical skills.

7. “Story: Substance, Structure, Style, and the Principles of Screenwriting” by Robert McKee

While primarily focused on screenwriting, McKee’s “Story” offers invaluable insights for all forms of narrative writing.

• “Story is about principles, not rules.” Learn the principles, then adapt them to your needs.
• Understand the difference between “plot” (the external journey) and “story” (the internal journey).
• Create dimensional characters through consistent desires and unconscious desires.
• Use “progressive complications” to build tension and keep the audience engaged.
• The “gap” between expectation and result drives a story forward.
• Scenes should turn on changes of “values” – positive to negative or vice versa.
• The “controlling idea” is the story’s ultimate meaning expressed through the resolution of the last act.
• “Write the truth. Never compromise. Dare to take risks.”

McKee’s book is dense with information and may require multiple readings, but it offers a comprehensive understanding of story structure and character development.

8. “Self-Editing for Fiction Writers” by Renni Browne and Dave King

This practical guide focuses on the revision process, teaching writers how to polish their own work to a professional standard.

• “Show, don’t tell” – let readers experience the story through action, words, thoughts, senses, and feelings rather than through the author’s exposition.
• Be wary of “character tags” (repetitive actions or phrases) that can make characters seem one-dimensional.
• Use dialogue to reveal character and move the story forward, not to dump information.
• Avoid “tom swifties” and overuse of dialogue attribution – let the dialogue speak for itself when possible.
• Be cautious with adverbs, especially in dialogue attribution.
• Vary sentence structure and paragraph length for better rhythm.
• Use “proportion” to give the most space to the most important events.
• Be consistent with point of view – avoid “head-hopping” within scenes.

Browne and King provide numerous before-and-after examples, making their advice concrete and easy to apply.

9. “The War of Art” by Steven Pressfield

Pressfield’s book is less about the technical aspects of writing and more about overcoming the psychological barriers that prevent us from creating.

• Recognize and combat “Resistance” – the internal force that fights against creative efforts.
• Turn pro: Approach your writing with the dedication and consistency of a professional, not an amateur.
• “The most important thing about art is to work. Nothing else matters except sitting down every day and trying.”
• Don’t wait for inspiration – it comes during the work, not before.
• Seek to serve the Muse, not your ego.
• Accept fear as part of the creative process, but don’t let it stop you.
• “Creative work is not a selfish act or a bid for attention… It’s a gift to the world and every being in it.”
• Separate the process of creating from the results – focus on doing the work, not on success or failure.

Pressfield’s approach is motivational and philosophical, aiming to change the reader’s mindset about creative work.

10. “Zen in the Art of Writing” by Ray Bradbury

Bradbury’s book is a collection of essays that blend practical advice with the joy and zen of writing.

• Write with “zest” and “gusto” – let your enthusiasm shine through your work.
• “You must stay drunk on writing so reality cannot destroy you.”
• Write every day – Bradbury wrote 1000 words daily for decades.
• Follow your intuition: “Your intuition knows what it wants to write, so get out of the way.”
• Use list-making as a way to generate ideas and tap into your subconscious.
• Read poetry every day to enrich your language and imagery.
• Don’t write for money or fame, write for the joy of it.
• “Remember: Plot is no more than footprints left in the snow after your characters have run by on their way to incredible destinations.”
• Embrace your uniqueness: “You are a specialized version of a human being.”

Bradbury’s approach emphasizes the joy and passion of writing, encouraging writers to tap into their inner child and write from a place of wonder and excitement.

James Scott Bell’s book is a comprehensive guide to crafting compelling plots and solid story structures.

• Use the “LOCK” system: Lead character, Objective, Confrontation, Knockout ending.
• Structure your novel using the “three-act paradigm”: beginning hook, middle build, and ending payoff.
• Create a “disturbance” early in your story to grab the reader’s attention.
• Utilize “doorways of no return” – points where the character can’t go back to their old life.
• Develop subplots that echo or contrast with the main plot.
• Use “signpost scenes” to keep your story on track.
• Create tension on every page through conflict, surprise, or raising story questions.
• End chapters with “hooks” to keep readers engaged.
• Revise your plot using the “LOCK” system as a checklist.

Bell’s approach is particularly useful for writers who struggle with plot development or maintaining narrative momentum.

12. “Writing the Breakout Novel” by Donald Maass

Literary agent Donald Maass shares insights on what makes a novel stand out in the crowded publishing market.

• Create larger-than-life characters with conflicting traits and strong inner conflicts.
• Develop a “high-stakes” plot where both public and personal stakes are significant.
• Use multiple subplots to add depth and complexity to your story.
• Create a vivid, multidimensional setting that becomes almost a character itself.
• Incorporate universal themes that resonate with a wide audience.
• Use dialogue to reveal character and advance the plot simultaneously.
• Create moments of gut-wrenching emotion to deeply engage readers.
• Surprise readers with plot twists and character revelations.
• End each scene with a “promissory note” that pulls the reader forward.

Maass’s book is particularly valuable for writers aiming to transition from good to great and potentially break out in the commercial market.

13. “The Writing Life” by Annie Dillard

Annie Dillard’s book is a poetic and philosophical exploration of what it means to be a writer.

• “Write as if you were dying.” Put your whole self into your writing.
• Be willing to “punch a hole” in your manuscript and start again if necessary.
• “The feeling that the work is magnificent, and the feeling that it is abominable, are both mosquitoes to be repelled, ignored, or killed, but not indulged.”
• “Get to work. Your work is to keep cranking the flywheel that turns the gears that spin the belt in the engine of belief that keeps you and your desk in midair.”
• “The writer studies literature, not the world.” Read extensively to improve your craft.
• “Do not hoard what seems good for a later place in the book… give it, give it all, give it now.”
• “Write about winter in the summer.” Distance can provide perspective.
• “The line of words is a hammer. You hammer against the walls of your house. You tap the walls, lightly, everywhere. After giving many years’ attention to these things, you know what to listen for.”

Dillard’s approach is less about technique and more about the mindset and lifestyle of a committed writer.

14. “Steering the Craft: A Twenty-First-Century Guide to Sailing the Sea of Story” by Ursula K. Le Guin

Ursula K. Le Guin, a master of both science fiction and fantasy, offers a guide to the fundamental components of narrative.

• Pay close attention to the sound and rhythm of your prose, even in silent reading.
• Practice writing in different points of view to understand their effects and limitations.
• Use verb tenses consistently and intentionally for different narrative effects.
• Master the “crowded sentence” – complex sentences that carry a lot of information elegantly.
• Understand when to use exposition and when to use scene.
• Practice “pure narration” – telling a story without dialogue or scene-setting.
• Use repetition deliberately for emphasis or rhythm.
• Pay attention to implicit as well as explicit information in your writing.
• “The important thing is to know what you’re doing and why.”

Le Guin’s book includes practical exercises for each concept, making it particularly useful for writers looking to actively improve their craft.

15. “The Emotional Craft of Fiction” by Donald Maass

In this book, literary agent Donald Maass focuses on how to create emotional experiences for readers.

• Focus on creating emotional experiences rather than simply describing emotions.
• Use “emotional triggers” – small details that evoke strong feelings.
• Create characters with conflicting emotions to add depth and realism.
• Develop a character’s emotional journey alongside their plot journey.
• Use “microtension” on every page to keep readers engaged.
• Create moments of character insight and growth to emotionally involve readers.
• Use setting and description to evoke emotion.
• Harness the power of character change to create satisfying story arcs.
• “The most powerful emotional moments are often quiet ones.”

Maass’s approach is particularly useful for writers looking to create more emotionally engaging and memorable stories.

16. “Reading Like a Writer” by Francine Prose

Francine Prose’s book focuses on the art of close reading as a means to improve one’s writing.

• Read slowly and carefully, paying attention to word choice, sentence structure, and narrative techniques.
• Study how great writers use dialogue to reveal character and advance the plot.
• Pay attention to paragraph structure and how it affects pacing and emphasis.
• Learn from the masters by analyzing their use of narration, character development, and detail.
• Don’t be afraid to imitate writers you admire as a learning exercise.
• “Every page was once a blank page, just as every word that appears on it now was not always there, but instead reflects the final result of countless large and small deliberations.”
• Study how writers create and sustain narrative momentum.
• Pay attention to how writers handle the passage of time in their stories.
• “Read carnivorously.” Be willing to learn from any good writing, regardless of genre or style.

Prose’s approach emphasizes the connection between reading and writing, making it particularly valuable for writers who want to deepen their understanding of craft through careful study of literature.

17. “The Writer’s Journey: Mythic Structure for Writers” by Christopher Vogler

Christopher Vogler’s book applies Joseph Campbell’s concept of the Hero’s Journey to writing, particularly for screenplays but applicable to novels as well.

• Understand the 12 stages of the Hero’s Journey and how they can structure a story: Ordinary World, Call to Adventure, Refusal of the Call, Meeting with the Mentor, Crossing the Threshold, Tests/Allies/Enemies, Approach to the Inmost Cave, Ordeal, Reward, The Road Back, Resurrection, Return with Elixir.
• Use archetypal characters (Hero, Mentor, Threshold Guardian, Herald, Shapeshifter, Shadow, Ally, Trickster) to create resonant, universally recognizable figures.
• Recognize that characters can embody different archetypes at different points in the story.
• Use the Hero’s Journey flexibly – it’s a form, not a formula.
• Create a character’s arc that mirrors the external journey.
• Use “polarity” – contrasts and opposites – to create tension and interest.
• Understand the function of each stage of the journey and how it contributes to the overall story.
• Recognize that the Hero’s Journey can apply to internal, emotional journeys as well as external, physical ones.
• “The point of this journey is not merely to survive, but to be reborn, to be transformed.”

Vogler’s approach is particularly useful for writers looking to create stories with a strong, classical narrative structure and universal appeal.

18. “Stein on Writing” by Sol Stein

Sol Stein, a renowned editor, novelist, and publisher, offers a comprehensive guide to both fiction and non-fiction writing.

• “Good writing is supposed to evoke sensation in the reader—not the fact that it is raining, but the feeling of being rained upon.”
• Use “particularity” – specific, concrete details – to bring your writing to life.
• Create “instant characterization” by showing a character’s most prominent trait through action.
• Use dialogue to create conflict and reveal character, not just to convey information.
• Employ “triage editing” – focus on the most important issues first when revising.
• Create suspense through unanswered story questions, not just in thrillers but in all genres.
• Use “markers” – memorable actions or phrases – to make characters distinctive.
• Avoid “flab” in your writing – cut anything that doesn’t advance the story or deepen characterization.
• “The job of the first sentence is to make the reader read the second sentence.”

Stein’s book is particularly valuable for its insights into the editing process and its practical advice for creating compelling prose.

19. “The Anatomy of Story: 22 Steps to Becoming a Master Storyteller” by John Truby

John Truby’s book offers a comprehensive approach to story structure and character development.

• Develop your premise line – the simplest combination of character and plot.
• Create your characters as an interconnected web, not as individuals.
• Identify your hero’s weakness, need, and desire.
• Develop a “story world” that’s organic to your hero’s journey.
• Use the “seven key steps of story structure”: Weakness and Need, Desire, Opponent, Plan, Battle, Self-Revelation, New Equilibrium.
• Create a moral argument in your story through the hero’s change.
• Use symbols and subplots to deepen your theme.
• Develop your story through “22 building blocks,” including character revelation, moral decision, and battle sequences.
• “Good storytelling doesn’t just tell audiences what happened in a life. It gives them the experience of that life.”

Truby’s approach is particularly useful for writers looking to create complex, thematically rich stories with well-developed characters.

20. “The Art of Fiction” by John Gardner

John Gardner, a noted novelist and writing instructor, offers a philosophical and practical guide to writing fiction.

• Strive to create a “vivid and continuous dream” for the reader.
• Use “psychic distance” – the distance between the reader and the character’s thoughts – deliberately and consistently.
• Understand and use the different effects of various points of view.
• Practice writing in different styles and voices to develop versatility.
• Use concrete details to create a sense of reality in your fiction.
• Avoid “faults of soul,” such as sentimentality or frigidity, in your writing.
• Develop your plot organically from your characters and situation.
• Use rhythm and sound in your prose, even in passages that aren’t overtly poetic.
• “Fiction does its work by creating a dream in the reader’s mind.”

Gardner’s book is particularly valuable for its insights into the aesthetics of fiction and its emphasis on the moral and philosophical dimensions of storytelling.

21. “Story Genius” by Lisa Cron

Lisa Cron’s book focuses on using cognitive storytelling strategies to create compelling, brain-friendly narratives.

• Start with your protagonist’s “third rail” – the powerful fear or misbelief that drives their actions.
• Develop a “what if?” question that your story will answer.
• Create a “story genius foundation” – a set of key elements including the protagonist’s goal, misbelief, and the story’s theme.
• Use “scene cards” to plan your story, focusing on how each scene changes your protagonist.
• Develop your protagonist’s “origin scene” – the moment in their past that created their misbelief.
• Create a “cause and effect trajectory” for your story events.
• Focus on your protagonist’s internal struggle as much as external conflicts.
• “Story is about how the things that happen affect someone in pursuit of a difficult goal, and how that person changes internally as a result.”
• Use backstory strategically to deepen the meaning of present events.

Cron’s approach is particularly useful for writers who want to create psychologically rich, emotionally engaging stories.

22. “Write. Publish. Repeat.” by Sean Platt and Johnny B. Truant

This book focuses on the business side of being an indie author, with an emphasis on productivity and marketing.

• Develop a consistent writing habit and aim for high productivity.
• Plan your books in series to build a loyal readership.
• Use “beats” (key plot points) to outline your stories quickly.
• Create a “standard operating procedure” for your writing process to increase efficiency.
• Focus on “reader-first” writing – consider your audience’s expectations and desires.
• Use email lists and other direct marketing techniques to build a fanbase.
• Iterate and improve your craft with each book you write.
• “The best marketing you can do for your book is to write another book.”
• Understand your genre’s conventions and reader expectations.

Platt and Truant’s book is particularly valuable for writers looking to build a career as independent authors, offering advice on both the craft and business of writing.

23. “Wonderbook: The Illustrated Guide to Creating Imaginative Fiction” by Jeff VanderMeer

Jeff VanderMeer’s book is a visually rich guide to writing speculative fiction, filled with illustrations, diagrams, and writing exercises.

• Use “disruption” techniques to break out of conventional thinking and generate unique ideas.
• Develop complex, layered worlds for your stories.
• Create “symbiotic” relationships between your characters, plot, and setting.
• Use visual thinking tools like mind maps and diagrams to develop your stories.
• Experiment with narrative structures and non-linear storytelling.
• Incorporate elements of the surreal or bizarre to add depth to your fiction.
• Use revision as a creative process, not just for correction.
• “The Imagination is a muscle: use it or lose it.”
• Draw inspiration from a wide range of sources, including science, nature, and art.

VanderMeer’s approach is particularly useful for writers of speculative fiction or those looking to inject more creativity and imagination into their work.

24. “The Kick-Ass Writer” by Chuck Wendig

Chuck Wendig’s book offers 1001 pieces of writing advice in his characteristically blunt and humorous style.

• “The first draft is just you telling yourself the story.” Don’t aim for perfection in early drafts.
• Create characters that want things and have agency in your story.
• “Argue for your limitations, and sure enough they’re yours.” Don’t make excuses not to write.
• Use strong verbs and specific nouns to create vivid prose.
• Embrace the “suck” of first drafts – you can’t edit a blank page.
• Create conflict on every page to keep readers engaged.
• Develop a thick skin and learn to handle criticism constructively.
• “Write with velocity.” Set deadlines and stick to them.
• Read widely, both in and out of your genre.

Wendig’s book is particularly valuable for its no-nonsense approach to the writing life and its wide range of practical tips for improving one’s craft.

25. “The Forest for the Trees: An Editor’s Advice to Writers” by Betsy Lerner

Betsy Lerner, an editor and literary agent, offers insights into the publishing industry and the writer’s psyche.

• Understand your motivations for writing and how they affect your work.
• Recognize and combat your inner critic.
• Develop resilience in the face of rejection and criticism.
• Understand the different roles in publishing (agents, editors, publicists) and how to work with them.
• Be professional in your interactions with the publishing industry.
• Revise ruthlessly – “Kill your darlings.”
• Find a balance between solitude for writing and connection with other writers.
• “Writing is both mask and unveiling.”
• Persistence is key – many successful authors faced numerous rejections before their breakthrough.

Lerner’s book is particularly valuable for its insider’s view of the publishing industry and its insights into the psychological challenges of the writing life.

26 (bonus!) Bookcraft – From Good Ideas to Great Books by Derek Murphy

“ Bookcraft ” is a comprehensive guide that combines storytelling techniques with practical advice on crafting compelling fiction, wrapped in a “magical” theme and framework.

• Start with a strong premise that includes conflict and stakes.
• Use the “Hero’s Journey” and “Three-Act Structure” as flexible frameworks for your story.
• Create complex, relatable characters with clear goals and motivations.
• Develop a unique “story hook” that grabs readers’ attention from the start.
• Use scene and sequel structure to maintain pacing and tension.
• Craft dialogue that reveals character and advances the plot simultaneously.
• Employ “open loops” and foreshadowing to keep readers engaged.
• Use sensory details and “deep point of view” to immerse readers in your story world.
• Focus on creating emotional resonance with readers through character arcs and thematic elements.
• Revise strategically, focusing on big-picture issues before line editing.
• Understand genre conventions and reader expectations to position your book effectively.

Murphy’s approach is particularly useful for writers who want to combine creative storytelling with market-savvy techniques. He emphasizes the importance of understanding both the art and business of writing, making “Bookcraft” valuable for those aiming to write commercially successful fiction.

“Bookcraft” stands out for its blend of traditional storytelling wisdom with modern marketing strategies, making it a comprehensive resource for writers at various stages of their journey.

Listen to the audiobook you YouTube for free!

PS. I’m adding some links to these books down below, so you can grab them easily! If you have another good writing craft or book writing books to recommend let me know in the comments!

The 3 secrets to book marketing, and a haunted castle tour.

Totally free. Get it here.

I’m a philosophy dropout with a PhD in Literature. I covet a cabin full of cats, where I can write fantasy novels to pay for my cake addiction. Sometimes I live in castles.

Sharing is caring!

Add Comment

Cancel reply.

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

• Terms & Privacy

Derek Murphy © 2024. All Rights Reserved

Writers' Treasure

Effective writing advice for aspiring writers

Creative Writing 101

Creative writing is any form of writing which is written with the creativity of mind: fiction writing, poetry writing, creative nonfiction writing and more. The purpose is to express something, whether it be feelings, thoughts, or emotions.

Rather than only giving information or inciting the reader to make an action beneficial to the writer, creative writing is written to entertain or educate someone, to spread awareness about something or someone, or to express one’s thoughts.

There are two kinds of creative writing: good and bad, effective and ineffective. Bad, ineffective creative writing cannot make any impression on the reader. It won’t achieve its purpose.

So whether you’re a novelist, a poet, a short-story writer, an essayist, a biographer or an aspiring beginner, you want to improve your craft. The question is: how?

When you write great fiction, poetry, or nonfiction, amazing things can happen. Readers can’t put it down. The work you wrote becomes a bestseller. It becomes famous. But you have to reach to that level… first .

The best way to increase your proficiency in creative writing is to write, write compulsively, but it doesn’t mean write whatever you want. There are certain things you should know first… it helps to start with the right foot.

To do exactly that, here we have a beginners’ guide from Writers’ Treasure on the subject:

• An Introduction to Creative Writing
• How to Get Started in Creative Writing in Just Three Steps
• Creative Writing vs. Technical Writing
• Fiction Writing 101: The Elements of Stories
• Poetry Writing: Forms and Terms Galore
• Creative Non-Fiction: What is it?
• Tips and Tricks to Improve Your Creative Writing
• Common Mistakes Made by Creative Writers

For novelists: do you want to write compelling opening chapters?

Are you an aspiring novelist? Will your novel see the light of day? For that, you will need to make the first chapter of your story as compelling as possible. Otherwise, readers won’t even pick up your novel. That chapter can be the make-or-break point that decides whether your novel is published or not. It’s because good editors know how you write from the first three pages… or sometimes even from the opening lines.

To solve this problem, I created a five-part tutorial on Writing Compelling Opening Chapters . It outlines why you need to write a compelling opening chapter, my personal favourite way of beginning it, what should be told and shown in it, general dos and don’ts, and what you need to do after having written it. Check it out for more.

Need more writing tips?

Sometimes you reach that stage when you outgrow the beginner stage of writing but feel that you’re not yet an expert. If I just described you, no worries– Writers’ Treasure’s writing tips are here. Whether you want to make your writing more readable, more irresistible, more professional, we’ve got you covered. So check out our writing tips , and be on your way to fast track your success.

I offer writing, editing and proofreading , as well as website creation services. I’ve been in this field for seven years, and I know the tools of the trade. I’ve seen the directions where the writing industry is going, the changes, the new platforms. Get your work done through me, and get fast and efficient service. Get a quote .

Free updates

Get free updates from Writers’ Treasure and learn more tips and tricks to improve your writing.

Share this:

52 thoughts on “creative writing 101”.

• Pingback: Creative Non-Fiction: What is it? | Writers Treasure
• Pingback: Poetry Writing Forms and Terms | Writers Treasure
• Pingback: Fiction Writing Tips and Elements to focus on | Writers Treasure
• Pingback: Creative Writing vs. Technical Writing | Writers Treasure
• Pingback: How to Get Started in Creative Writing | Writers Treasure
• Pingback: An Introduction to Creative Writing | Writers Treasure
• Pingback: How to Improve Your Creative Writing | Writers Treasure
• Pingback: Common Mistakes Made by Creative Writers | Writers Treasure
• Pingback: To Outline or Not to Outline, That is the Question
• Pingback: How to Create Effective Scenes and Chapters in Your Novel : Writing Forward
• Pingback: Writing Powerful True Short Stories
• Pingback: POV: What it is and how it matters
• Pingback: Creative Writing Skills: Do You Have Them All?
• Pingback: Three great articles check out on the Writers Treasure - Jamie Folsom
• Pingback: Warning: Do You Know that Your Paragraphs are Not Good Enough?
• Pingback: Welcome to Writers Treasure
• Pingback: How to Create Effective Scenes and Chapters in Your Novel
• Pingback: Adding Humour to Creative Write-up: Tips and Tricks
• Pingback: Creative Writing vs. Resume Writing | Resume Matrix
• Pingback: How to Get Started in Creative Writing in Just Three Steps | Blog do Learning
• Pingback: The #1 writing advice: write the truth
• Pingback: Creative writing in 2015: here’s what you need to know
• Pingback: Creative Writing Can Be Practical Writing - Simple Writer
• Pingback: Freedom Friday: Liberating Your Creativity | Renee "Soul Writer" Brooks
• Pingback: Tips to help you become a good copywriter | The Creative Copywriter.
• Pingback: Creative Writing | Shahad Almarzooq
• Pingback: How to be good at creative writing?
• Pingback: Learn creative writing
• Pingback: Creative Writing - Occident Books
• Pingback: How to become an outstanding writer
• Pingback: 5 creative writing tips to help you write great essays! – Essay Writing Tips and Help
• Pingback: Creative Writing Tips | learningland2016
• Pingback: NELTA ELT Forum
• Pingback: Language, Communication and Creativity. – lookinglanguage
• Pingback: Keep Your Kids Learning Even When School Year Is Over | Severna Park Children's Centre, Inc
• Pingback: 10 Free Online Courses on Creative Writing » A guide to free online courses
• Pingback: How to start a successful Blog – Beginner’s Guide for 2016
• Pingback: How to start a successful Blog – Beginner’s Guide for 2017
• Pingback: Best of English classes | Site Title
• Pingback: English Classes,Which Classes Dominate others? – Pressing Times
• Pingback: Creative Writing 101 | Junctionway
• Pingback: How to Write Quality Articles: A New Guide for Online Startups [Part Two: 3 Simple Ways for Finding Ideas] - Suhaib Mohammed
• Pingback: Writing Blogs in the Shower - Say It For You- Say It For You
• Pingback: 5 Ways To Improve Your Health First In The New Year - Sarah Scoop
• Pingback: 10 Hobbies Your Teen Can Get as an Alternative to Digital Devices While on Lockdown | meekscutoff.com
• Pingback: 50+ Easy Fiverr Freelance Jobs Examples to Start Today! | IsuaWealthyPlace
• Pingback: 10 Creative Writing Strategies In The Composition Classroom - Wizpals
• Pingback: 5 Ways to Become the MacGyver of Creative Writing
• Pingback: Balancing Your Life As A Writer And Head Of The Family - ebookomatic.com
• Pingback: EbookoMatic | Ricos Electronic World
• Pingback: 20 Types of Freelance Writing Careers (The Definitive List)
• Pingback: Welcome to Musings & Meanderings: A Journey Through Poetry and Prose - Musings & Meanderings

Comments are closed.

100 Must-Read, Best Books On Writing And The Writer’s Life

From craft to writer's lives, get ready to dig into 100 of the must-read, best books on writing for improving your own work.

Nikki VanRy

Nikki VanRy is a proud resident of Arizona, where she gets to indulge her love of tacos, desert storms, and tank tops. She also writes for the Tucson Festival of Books, loves anything sci-fi/fantasy/historical, drinks too much chai, and will spend all day in bed reading thankyouverymuch. Follow her on Instagram @nikki.vanry .

View All posts by Nikki VanRy

If you’re a working or aspiring writer, y ou already likely know about the classic best books on writing–King’s  On Writing,  Strunk and White’s Elements of Style– but for a craft as varied and personal as writing, you’ll always benefit from learning from more voices, with more techniques. 

That’s why this list is full of writers not only talking about the bare-bones craft of writing (and there’s plenty of fantastic advice there), but also how becoming a writer changed their lives and what role they believe writers play in an ever-changing world. From craft to writer’s lives, get ready to dig into 100 of the must-read, best books on writing for improving your own work. 

“Written with her trademark lyricism, in these signature pieces the acclaimed author of The House on Mango Street shares her transformative memories and reveals her artistic and intellectual influences. Poignant, honest, and deeply moving, A House of My Own is an exuberant celebration of a life lived to the fullest, from one of our most beloved writers.”

2.  A Little Book on Form    by Robert Hass

“Brilliantly synthesizes Hass’s formidable gifts as both a poet and a critic and reflects his profound education in the art of poetry. Starting with the exploration of a single line as the basic gesture of a poem, and moving into an examination of the essential expressive gestures that exist inside forms, Hass goes beyond approaching form as a set of traditional rules that precede composition, and instead offers penetrating insight into the true openness and instinctiveness of formal creation.”

3. A Personal Anthology by Jorge Luis Borges

“After almost a half a century of scrupulous devotion to his art, Jorge Luis Borges personally compiled this anthology of his work—short stories, essays, poems, and brief mordant ‘sketches,’ which, in Borges’s hands, take on the dimensions of a genre unique in modern letters. In this anthology, the author has put together those pieces on which he would like his reputation to rest; they are not arranged chronologically, but with an eye to their ‘sympathies and differences.'”

4.  A Room of One’s Own by Virginia Woolf

“Virginia Woolf imagines that Shakespeare had a sister—a sister equal to Shakespeare in talent, and equal in genius, but whose legacy is radically different. In this classic essay, she takes on the establishment, using her gift of language to dissect the world around her and give voice to those who are without. Her message is a simple one: women must have a fixed income and a room of their own in order to have the freedom to create.”

“Taking up specifics (When do flashbacks work, and when should you avoid them? How do you make characters both vivid and sympathetic?) and generalities (How are novels structured? How do writers establish serious literary reputations today?), Delany also examines the condition of the contemporary creative writer and how it differs from that of the writer in the years of Hemingway, Fitzgerald, and the high Modernists. Like a private writing tutorial, About Writing treats each topic with clarity and insight.”

6. The Anatomy of Story: 22 Steps to Becoming a Master Storyteller by John Truby

“Based on the lessons in his award-winning class, Great Screenwriting, The Anatomy of Story draws on a broad range of philosophy and mythology, offering fresh techniques and insightful anecdotes alongside Truby’s own unique approach to building an effective, multifaceted narrative.”

7.  Art & Fear: Observations on the Perils (and Rewards) of Artmaking by David Bayles and Ted Orland

“Explores the way art gets made, the reasons it often doesn’t get made, and the nature of the difficulties that cause so many artists to give up along the way. The book’s co-authors, David Bayles and Ted Orland, are themselves both working artists, grappling daily with the problems of making art in the real world. Their insights and observations, drawn from personal experience, provide an incisive view into the world of art as it is experienced by artmakers themselves.”

8.  The Art of Death by Edwidge Danticat

“At once a personal account of her mother dying from cancer and a deeply considered reckoning with the ways that other writers have approached death in their own work.”

9. The Art of Fiction: Notes on Craft for Young Writers by John Gardner

“Gardner’s lessons, exemplified with detailed excerpts from classic works of literature, sweep across a complete range of topics—from the nature of aesthetics to the shape of a refined sentence. Written with passion, precision, and a deep respect for the art of writing, Gardner’s book serves by turns as a critic, mentor, and friend. Anyone who has ever thought of taking the step from reader to writer should begin here.”

“Karr synthesizes her expertise as professor and therapy patient, writer and spiritual seeker, recovered alcoholic and ‘black belt sinner,’ providing a unique window into the mechanics and art of the form that is as irreverent, insightful, and entertaining as her own work in the genre.”

11. The Artist’s Way: A Spiritual Path to Higher Creativity by Julia Cameron

“The seminal book on the subject of creativity. An international bestseller, millions of readers have found it to be an invaluable guide to living the artist’s life. Still as vital today—or perhaps even more so—than it was when it was first published twenty five years ago, it is a powerfully provocative and inspiring work.”

12. Big Magic: Creative Living Beyond Fear by Elizabeth Gilbert

“With profound empathy and radiant generosity, Gilbert offers potent insights into the mysterious nature of inspiration. She asks us to embrace our curiosity and let go of needless suffering. She shows us how to tackle what we most love, and how to face down what we most fear. She discusses the attitudes, approaches, and habits we need in order to live our most creative lives.”

13. Bird by Bird: Some Instructions on Writing and Life by Anne Lamott

“Lamott’s miscellany of guidance and reflection should appeal to writers struggling with demons large and slight. Among the pearls she offers is to start small, as their father once advised her 10-year-old brother, who was agonizing over a book report on birds: ‘Just take it bird by bird.’ Lamott’s suggestion on the craft of fiction is down-to-earth: worry about the characters, not the plot. “

14. Black Milk: On the Conflicting Demands of Writing, Creativity, and Motherhood by Elif Shafak

“She intersperses her own experience with the lives of prominent authors such as Sylvia Plath, Virginia Woolf, Alice Walker, Ayn Rand, and Zelda Fitzgerald, Shafak looks for a solution to the inherent conflict between artistic creation and responsible parenting. With searing emotional honesty and an incisive examination of cultural mores within patriarchal societies, Shafak has rendered an important work about literature, motherhood, and spiritual well-being.”

“Erdrich takes us on an illuminating tour through the terrain her ancestors have inhabited for centuries: the lakes and islands of southern Ontario. Summoning to life the Ojibwe’s sacred spirits and songs, their language and sorrows, she considers the many ways in which her tribe—whose name derives from the word ozhibii’ige, ‘to write'”—have influenced her. Her journey links ancient stone paintings with a magical island where a bookish recluse built an extraordinary library, and she reveals how both have transformed her.”

16. Bryson’s Dictionary of Troublesome Words: A Writer’s Guide to Getting It Right by Bill Bryson

“An essential guide to the wonderfully disordered thing that is the English language. With some one thousand entries that feature real-world examples of questionable usage from an international array of publications, and with a helpful glossary and guide to pronunciation, this precise, prescriptive, and–because it is written by Bill Bryson–often witty book belongs on the desk of every person who cares enough about the language not to maul or misuse or distort it.”

17. Bullies, Bastards and Bitches: How to Write the Bad Guys of Fiction by Jessica Morrell 

“A truly memorable antagonist is not a one-dimensional super villain bent on world domination for no particular reason. Realistic, credible bad guys create essential story complications, personalize conflict, add immediacy to a story line, and force the protagonist to evolve.”

18. Crazy Brave: A Memoir by Joy Harjo

“In this transcendent memoir, grounded in tribal myth and ancestry, music and poetry, Joy Harjo, one of our leading Native American voices, details her journey to becoming a poet. Narrating the complexities of betrayal and love, Crazy Brave is a memoir about family and the breaking apart necessary in finding a voice.”

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

“Former editor Lynne Truss, gravely concerned about our current grammatical state, boldly defends proper punctuation. She proclaims, in her delightfully urbane, witty, and very English way, that it is time to look at our commas and semicolons and see them as the wonderful and necessary things they are.”

“You know the authors’ names. You recognize the title. You’ve probably used this book yourself. This is The Elements of Style , the classic style manual. This book’s unique tone, wit and charm have conveyed the principles of English style to millions of readers. Use the fourth edition of ‘the little book’ to make a big impact with writing.”

21. The Emotional Craft of Fiction: How to Write the Story Beneath the Surface by Donald Maass

“Veteran literary agent and expert fiction instructor Donald Maass shows you how to use story to provoke a visceral and emotional experience in readers. Readers can simply read a novel…or they can experience it. The Emotional Craft of Fiction shows you how to make that happen.”

22. Everybody Writes: Your Go-To Guide to Creating Ridiculously Good Content by Ann Handley

“A  go-to guide to attracting and retaining customers through stellar online communication, because in our content-driven world, every one of us is, in fact, a writer. If you have a web site, you are a publisher. If you are on social media, you are in marketing. And that means that we are all relying on our words to carry our marketing messages. We are all writers.”

23. The First Five Pages: A Writer’s Guide to Staying Out of the Rejection Pile by Noah Lukeman

“With exercises at the end of each chapter, this invaluable reference will allow novelists, journalists, poets and screenwriters alike to improve their technique as they learn to eliminate even the most subtle mistakes that are cause for rejection. The First Five Pages will help writers at every stage take their art to a higher — and more successful — level.”

24. The Forest for the Trees: An Editor’s Advice to Writers by Betsy Lerner

“From blank page to first glowing (or gutting) review, Betsy Lerner is a knowing and sympathetic coach who helps writers discover how they can be more productive in the creative process and how they can better their odds of not only getting published, but getting published well.”

“ Free Within Ourselves is is meant to be a song of encouragement for African-American artists and visionaries. A step-by-step introduction to fictional technique, exploring story ideas, and charting one’s progress, as well as a resource guide for publishing fiction.”

26. Getting Into Character: Seven Secrets a Novelist Can Learn From Actors by Brandilyn Collins 

“Want to bring characters to life on the page as vividly as fine actors do on the stage or screen? Getting Into Character will give you a whole new way of thinking about your writing. Drawing on the Method Acting theory that theater professionals have used for decades, this in-depth guide explains seven characterization techniques and adapts them for the novelist’s use.”

27. The Heart of a Woman by Maya Angelou

“In The Heart of a Woman , Maya Angelou leaves California with her son, Guy, to move to New York. There she enters the society and world of black artists and writers, reads her work at the Harlem Writers Guild, and begins to take part in the struggle of black Americans for their rightful place in the world.”

28. If You Want to Write by Brenda Ueland

“In this book, Ueland shares her philosophies on writing and life in general. She stresses the idea that ‘Everyone is talented, original, and has something important to say.’ Drawing heavily on the work and influence of William Blake, she suggests that writers should ‘Try to discover your true, honest, un-theoretical self.’ She sums up her book with 12 points to keep in mind while writing. Carl Sandburg called If You Want to Write the best book ever written on how to write.”

29. Immersion: A Writer’s Guide to Going Deep by Ted Conover

“Conover distills decades of knowledge into an accessible resource aimed at writers of all levels. He covers how to “get into” a community, how to conduct oneself once inside, and how to shape and structure the stories that emerge. Conover is also forthright about the ethics and consequences of immersion reporting, preparing writers for the surprises that often surface when their piece becomes public.”

“On a post-college visit to Florence, Pulitzer Prize-winning author Jhumpa Lahiri fell in love with the Italian language. Twenty years later, seeking total immersion, she and her family relocated to Rome, where she began to read and write solely in her adopted tongue. A startling act of self-reflection, In Other Words is Lahiri’s meditation on the process of learning to express herself in another language—and the stunning journey of a writer seeking a new voice.”

31. In Search of Our Mothers’ Gardens: Womanist Prose by Alice Walker 

“Alice Walker speaks out as a black woman, writer, mother, and feminist, in thirty-six pieces ranging from the personal to the political. Here are essays about Walker’s own work and that of other writers, accounts of the civil rights movement of the 1960s and the antinuclear movement of the 1980s, and a vivid, courageous memoir of a scarring childhood injury.”

32. It Was the Best of Sentences, It Was the Worst of Sentences: A Writer’s Guide to Crafting Killer Sentences by June Casagrande

“Great writing isn’t born, it’s built—sentence by sentence. But too many writers—and writing guides—overlook this most important unit. The result? Manuscripts that will never be published and writing careers that will never begin. So roll up your sleeves and prepare to craft one bold, effective sentence after another. Your readers will thank you.”

33. The Kick-Ass Writer: 1001 Ways to Write Great Fiction, Get Published, and Earn Your Audience by Chuck Wendig

“The journey to become a successful writer is long, fraught with peril, and filled with difficult questions: How do I write dialogue? How do I build suspense? What should I know about query letters? Where do I start? The best way to answer these questions is to ditch your uncertainty and transform yourself into a KICK-ASS writer.”

34. The Language of Fiction: A Writer’s Stylebook by Brian Shawver

“Grand themes and complex plots are just the beginning of a great piece of fiction. Mastering the nuts and bolts of grammar and prose mechanics is also an essential part of becoming a literary artist. This indispensable guide, created just for writers of fiction, will show you how to take your writing to the next level by exploring the finer points of language.”

“Finally, a truly creative―and hilarious―guide to creative writing, full of encouragement and sound advice. Provocative and reassuring, nurturing and wise, The Lie That Tells a Truth is essential to writers in general, fiction writers in particular, beginning writers, serious writers, and anyone facing a blank page.”

36. The Magic Words: Writing Great Books for Children and Young Adults by Cheryl Klein

“Editor Cheryl B. Klein guides writers on an enjoyable and practical-minded voyage of their own, from developing a saleable premise for a novel to finding a dream agent. She delves deep into the major elements of fiction―intention, character, plot, and voice―while addressing important topics like diversity, world-building, and the differences between middle-grade and YA novels.”

37. Making a Good Script Great by Linda Seger 

“Making a good script great is more than just a matter of putting a good idea on paper. It requires the working and reworking of that idea. This book takes you through the whole screenwriting process – from initial concept through final rewrite – providing specific methods that will help you craft tighter, stronger, and more saleable scripts.”

38. Memoirs   by Pablo Neruda

“In his uniquely expressive prose, Neruda not only explains his views on poetry and describes the circumstances that inspired many of his poems, but he creates a revealing record of his life as a poet, a patriot, and one of the twentieth century’s true men of conscience.”

39. The Modern Library Writer’s Workshop: A Guide to the Craft of Fiction by Stephen Koch

“Stephen Koch, former chair of Columbia University’s graduate creative writing program, presents a unique guide to the craft of fiction. Along with his own lucid observations and commonsense techniques, he weaves together wisdom, advice, and inspiring commentary from some of our greatest writers.”

“Packed with insights and advice both practical (‘writing workshops you pay for are the best–it’s too easy to quit when you’ve made no investment’) and irreverent (‘apply Part A [butt] to Part B [chair]’). Naked, Drunk, and Writing is a must-have if you are an aspiring columnist, essayist, or memoirist—or just a writer who needs a bit of help in getting your story told.”

41. Negotiating with the Dead: A Writer on Writing by Margaret Atwood

“In this wise and irresistibly quotable book, one of the most intelligent writers working in English addresses the riddle of her art: why people pursue it, how they view their calling, and what bargains they make with their audience, both real and imagined. To these fascinating issues Booker Prize-winner Margaret Atwood brings a candid appraisal of her own experience as well as a breadth of reading that encompasses everything from Dante to Elmore Leonard.”

42. On Writing by Eudora Welty 

“Eudora Welty was one of the twentieth century’s greatest literary figures. For as long as students have been studying her fiction as literature, writers have been looking to her to answer the profound questions of what makes a story good, a novel successful, a writer an artist.”

43. On Writing: A Memoir of the Craft by Stephen King

“Part memoir, part master class by one of the bestselling authors of all time, this superb volume is a revealing and practical view of the writer’s craft, comprising the basic tools of the trade every writer must have.”

44. On Writing Well: The Classic Guide to Writing Nonfiction by William Zinsser

“Whether you want to write about people or places, science and technology, business, sports, the arts or about yourself in the increasingly popular memoir genre, On Writing Well offers you fundamental principles as well as the insights of a distinguished writer and teacher.”

“Based on the Zen philosophy that we learn more from our failures than from our successes, One Continuous Mistake teaches a refreshing new method for writing as spiritual practice. Here she introduces a method of discipline that applies specific Zen practices to enhance and clarify creative work. She also discusses bodily postures that support writing, how to set up the appropriate writing regimen, and how to discover one’s own ‘learning personality.'”

46. Outlining Your Novel: Map Your Way to Success by K.M. Weiland

“Writers often look upon outlines with fear and trembling. But when properly understood and correctly wielded, the outline is one of the most powerful weapons in a writer’s arsenal.”

47. The Paris Review Interviews, Vols. 1-4 by The Paris Review

“For more than half a century, The Paris Review has conducted in-depth interviews with our leading novelists, poets, and playwrights. These revealing, revelatory self-portraits have come to be recognized as themselves classic works of literature, and an essential and definitive record of the writing life.”

48. The Poet’s Companion: A Guide to the Pleasures of Writing Poetry by Kim Addonizio and Dorianne Laux

“Presents brief essays on the elements of poetry, technique, and suggested subjects for writing, each followed by distinctive writing exercises. The ups and downs of writing life―including self-doubt and writer’s block―are here, along with tips about getting published and writing in the electronic age.”

49. The Poetry Home Repair Manual: Practical Advice for Beginning Poets by Ted Kooser

“Using examples from his own rich literary oeuvre and from the work of a number of successful contemporary poets, the author schools us in the critical relationship between poet and reader, which is fundamental to what Kooser believes is poetry’s ultimate purpose: to reach other people and touch their hearts.”

“Have you always wanted to get an MFA, but couldn’t because of the cost, time commitment, or admission requirements? Well now you can fulfill that dream without having to devote tons of money or time. The Portable MFA gives you all of the essential information you would learn in the MFA program in one book.”

51. Paula: A Memoir by Isabel Allende

“Irony and marvelous flights of fantasy mix with the icy reality of Paula’s deathly illness as Allende sketches childhood scenes in Chile and Lebanon; her uncle Salvatore Allende’s reign and ruin as Chilean president; her struggles to shake off or find love; and her metamorphosis into a writer.”

52. Pen on Fire: A Busy Woman’s Guide to Igniting the Writer Within by Barbara DeMarco-Barrett

“In her fifteen years of teaching, Barbara DeMarco-Barrett has found that the biggest stumbling block for aspiring writers (especially women) is not fear of the blank page but frustration with the lack of time. What woman doesn’t have too much to do and too little time? Finding an hour free of work, children, or obligations can seem impossible.”

53. Pixar Storytelling: Rules for Effective Storytelling Based on Pixar’s Greatest Films   by Dean Movshovitz

“ Pixar Storytelling is about effective storytelling rules based on Pixar’s greatest films. The book consists of ten chapters, each of which explores an aspect of storytelling that Pixar excels at. Learn what Pixar’s core story ideas all have in common, how they create compelling, moving conflict and what makes their films’ resolutions so emotionally satisfying.”

54. Plot & Structure: Techniques and Exercises for Crafting a Plot That Grips Readers from Start to Finish by James Scott Bell 

“How does plot influence story structure? What’s the difference between plotting for commercial and literary fiction? How do you revise a plot or structure that’s gone off course? With Write Great Fiction: Plot & Structure , you’ll discover the answers to these questions and more. Award-winning author James Scott Bell offers clear, concise information that will help you create a believable and memorable plot.”

“In this essay of literary autobiography, V. S. Naipaul sifts through memories of his childhood in Trinidad, his university days in England, and his earliest attempts at writing, seeking the experiences of life and reading that shaped his imagination and his growth as a writer.”

56. Reading Like a Writer: A Guide for People Who Love Books and for Those Who Want to Write Them by Francine Prose

“Long before there were creative-writing workshops and degrees, how did aspiring writers learn to write? By reading the work of their predecessors and contemporaries, says Francine Prose. In Reading Like a Writer , Prose invites you to sit by her side and take a guided tour of the tools and the tricks of the masters.”

57. Romancing the Beat: Story Structure for Romance Novels (How to Write Kissing Books) by Gwen Hayes

“ Romancing the Beat is a recipe, not a rigid system. The beats don’t care if you plot or outline before you write, or if you pants your way through the drafts and do a ‘beat check’ when you’re revising. Pantsers and plotters are both welcome. So sit down, grab a cuppa, and let’s talk about kissing books.”

58. Save the Cat! The Last Book on Screenwriting You’ll Ever Need by Blake Snyder

“This ultimate insider’s guide reveals the secrets that none dare admit, told by a show biz veteran who’s proven that you can sell your script if you can save the cat!”

59. Scratch: Writers, Money, and the Art of Making a Living by Manjula Martin 

“In the literary world, the debate around writing and commerce often begs us to take sides: either writers should be paid for everything they do or writers should just pay their dues and count themselves lucky to be published. It’s an endless, confusing, and often controversial conversation that, despite our bare-it-all culture, still remains taboo. In Scratch , Manjula Martin has gathered interviews and essays from established and rising authors to confront the age-old question: how do creative people make money?”

“From concept to character, from opening scene to finished script, here are easily understood guidelines to help aspiring screenwriters—from novices to practiced writers—hone their craft.”

61. Singing School: Learning to Write (And Read) Poetry by Studying with the Masters by Robert Pinsky

“Quick, joyful, and playfully astringent, with surprising comparisons and examples, this collection takes an unconventional approach to the art of poetry. Instead of rules, theories, or recipes, Singing School emphasizes ways to learn from great work: studying magnificent, monumentally enduring poems and how they are made— in terms borrowed from the ‘singing school’ of William Butler Yeats’s ‘Sailing to Byzantium.'”

62. The Situation and the Story: The Art of Personal Narrative by Vivian Gornick

“Taking us on a reading tour of some of the best memoirs and essays of the past hundred years, Gornick traces the changing idea of self that has dominated the century, and demonstrates the enduring truth-speaker to be found in the work of writers as diverse as Edmund Gosse, Joan Didion, Oscar Wilde, James Baldwin, or Marguerite Duras.”

63. Slay the Dragon: Writing Great Video Games by Robert Denton Bryant and Keith Giglio

“Writing for the multibillion-dollar video-game industry is unlike writing for any other medium. Slay the Dragon will help you understand the challenges and offer creative solutions to writing for a medium where the audience not only demands a great story, but to be a driving force within it.”

64. Something to Declare by Julia Alvarez

“From the internationally acclaimed author of the bestselling novels In the Time of the Butterflies and How the García Girls Lost Their Accents comes a rich and revealing work of nonfiction capturing the life and mind of an artist as she knits together the dual themes of coming to America and becoming a writer.”

“This handbook is a short, deceptively simple guide to the craft of writing. Le Guin lays out ten chapters that address the most fundamental components of narrative, from the sound of language to sentence construction to point of view.”

66. Stein On Writing: A Master Editor of Some of the Most Successful Writers of Our Century Shares His Craft Techniques and Strategies by Sol Stein 

“With examples from bestsellers as well as from students’ drafts, Stein offers detailed sections on characterization, dialogue, pacing, flashbacks, trimming away flabby wording, the so-called ‘triage’ method of revision, using the techniques of fiction to enliven nonfiction, and more.”

67. Story Genius: How to Use Brain Science to Go Beyond Outlining and Write a Riveting Novel by Lisa Cron

“Takes you, step-by-step, through the creation of a novel from the first glimmer of an idea, to a complete multilayered blueprint—including fully realized scenes—that evolves into a first draft with the authority, richness, and command of a riveting sixth or seventh draft.”

68. Story Trumps Structure: How to Write Unforgettable Fiction by Breaking the Rules by Steven James

“All too often, following the ‘rules’ of writing can constrict rather than inspire you. With Story Trumps Structure , you can shed those rules – about three-act structure, rising action, outlining, and more – to craft your most powerful, emotional, and gripping stories.”

69. The Storytelling Animal: How Stories Make Us Human by Jonathan Gottschall

“Humans live in landscapes of make-believe. We spin fantasies. We devour novels, films, and plays. Even sporting events and criminal trials unfold as narratives. Yet the world of story has long remained an undiscovered and unmapped country. Now Jonathan Gottschall offers the first unified theory of storytelling. He argues that stories help us navigate life’s complex social problems–just as flight simulators prepare pilots for difficult situations. Storytelling has evolved, like other behaviors, to ensure our survival.”

“When it comes to writing books, are you a ‘plotter’ or a ‘pantser’? Is one method really better than the other? In this instructional book, author Libbie Hawker explains the benefits and technique of planning a story before you begin to write.”

71. TED Talks Storytelling: 23 Storytelling Techniques from the Best TED Talks by Akash Karia

“Essentially, the best speakers on the TED stage were the ones who had mastered the art of storytelling. They had mastered how to craft and present their stories in a way that allowed them to share their message with the world without seeming like they were lecturing their audience.”

72. This Is The Story of a Happy Marriage by Ann Patchett

“Blending literature and memoir, Ann Patchett, author of State of Wonder, Run, and Bel Canto , examines her deepest commitments—to writing, family, friends, dogs, books, and her husband—creating a resonant portrait of a life in This is the Story of a Happy Marriage. “

73. This Year You Write Your Novel by Walter Mosley

“No more excuses. ‘Let the lawn get shaggy and the paint peel from the walls,’ bestselling novelist Walter Mosley advises. Anyone can write a novel now, and in this essential book of tips, practical advice, and wisdom, Walter Mosley promises that the writer-in-waiting can finish it in one year.”

74. Thrill Me: Essays on Fiction by Benjamin Percy

“In fifteen essays on the craft of fiction, Percy looks to disparate sources such as Jaws , Blood Meridian, and The Girl with the Dragon Tattoo to discover how contemporary writers engage issues of plot, suspense, momentum, and the speculative, as well as character, setting, and dialogue. An urgent and entertaining missive on craft, Thrill Me brims with Percy’s distinctive blend of anecdotes, advice, and close reading, all in the service of one dictum: Thrill the reader.”

“Combining more than forty years of lessons from his storied career as a writer and professor, Lopate brings us this highly anticipated nuts-and-bolts guide to writing literary nonfiction. A phenomenal master class shaped by Lopate’s informative, accessible tone and immense gift for storytelling, To Show and To Tell reads like a long walk with a favorite professor—refreshing, insightful, and encouraging in often unexpected ways.”

76. The Tough Guide to Fantasyland: The Essential Guide to Fantasy Travel by Diana Wynne Jones

“Imagine that all fantasy novels—the ones featuring dragons, knights, wizards, and magic—are set in the same place. That place is called Fantasyland. The Tough Guide to Fantasyland is your travel guide, a handbook to everything you might find: Evil, the Dark Lord, Stew, Boots (but not Socks), and what passes for Economics and Ecology. Both a hilarious send-up of the cliches of the genre and an indispensable guide for writers.”

77. Unless It Moves the Human Heart: The Craft and Art of Writing by Roger Rosenblatt

“The revered novelist, essayist, playwright, and respected writing teacher offers a guidebook for aspiring authors, a memoir, and an impassioned argument for the necessity of writing in our world.”

78. Upstream by Mary Oliver

“Throughout this collection, Oliver positions not just herself upstream but us as well as she encourages us all to keep moving, to lose ourselves in the awe of the unknown, and to give power and time to the creative and whimsical urges that live within us.”

79. Video Game Storytelling: What Every Developer Needs to Know about Narrative Techniques by Evan Skolnick 

“Game writer and producer Evan Skolnick provides a comprehensive yet easy-to-follow guide to storytelling basics and how they can be applied at every stage of the development process—by all members of the team.”

“In this classic book, Madeleine L’Engle addresses the questions, What makes art Christian? What does it mean to be a Christian artist? What is the relationship between faith and art? Through L’Engle’s beautiful and insightful essay, readers will find themselves called to what the author views as the prime tasks of an artist: to listen, to remain aware, and to respond to creation through one’s own art.”

81. The Way of the Writer: Reflections on the Art and Craft of Storytelling by Charles Johnson

“Johnson shares his lessons and exercises from the classroom, starting with word choice, sentence structure, and narrative voice, and delving into the mechanics of scene, dialogue, plot and storytelling before exploring the larger questions at stake for the serious writer. What separates literature from industrial fiction? What lies at the heart of the creative impulse? How does one navigate the literary world? And how are philosophy and fiction concomitant?”

82. What I Talk About When I Talk About Running by Haruki Murakami

“While simply training for New York City Marathon would be enough for most people, Haruki Murakami’s decided to write about it as well. The result is a beautiful memoir about his intertwined obsessions with running and writing, full of vivid memories and insights, including the eureka moment when he decided to become a writer.”

83. What Moves at the Margin by Toni Morrison

“Collects three decades of Toni Morrison’s writings about her work, her life, literature, and American society. The works included in this volume range from 1971, when Morrison was a new editor at Random House and a beginning novelist, to 2002 when she was a professor at Princeton University and Nobel Laureate. These works provide a unique glimpse into Morrison’s viewpoint as an observer of the world, the arts, and the changing landscape of American culture.”

84. Where the Past Begins: A Writer’s Memoir by Amy Tan 

“By delving into vivid memories of her traumatic childhood, confessions of self-doubt in her journals, and heartbreaking letters to and from her mother, she gives evidence to all that made it both unlikely and inevitable that she would become a writer. Through spontaneous storytelling, she shows how a fluid fictional state of mind unleashed near-forgotten memories that became the emotional nucleus of her novels.”

“This all-new definitive guide to writing imaginative fiction takes a completely novel approach and fully exploits the visual nature of fantasy through original drawings, maps, renderings, and exercises to create a spectacularly beautiful and inspiring object.”

86. Woolgathering by Patti Smith

“A great book about becoming an artist, Woolgathering tells of a youngster finding herself as she learns the noble vocation of woolgathering, ‘a worthy calling that seemed a good job for me.’ She discovers―often at night, often in nature―the pleasures of rescuing ‘a fleeting thought.’ Deeply moving, Woolgathering calls up our own memories, as the child ‘glimpses and gleans, piecing together a crazy quilt of truths.'”

87. Words for Pictures: The Art and Business of Writing Comics and Graphic Novels by Brian Michael Bendis

“One of the most popular writers in modern comics, Brian Michael Bendis reveals the tools and techniques he and other top creators use to create some of the most popular comic book and graphic novel stories of all time.”

88. Write Naked: A Bestseller’s Secrets to Writing Romance & Navigating the Path to Success by Jennifer Probst

“Learn how to transform your passion for writing into a career. New York Times best-selling author Jennifer Probst reveals her pathway to success, from struggling as a new writer to signing a seven-figure deal. Write Naked intermingles personal essays on craft with down-to-earth advice on writing romance in the digital age.”

89. Write Your Novel in a Month: How to Complete a First Draft in 30 Days and What to Do Next by Jeff Gerke

“Author and instructor Jeff Gerke has created the perfect tool to show you how to prepare yourself to write your first draft in as little as 30 days. With Jeff’s help, you will learn how to organize your ideas, create dynamic stories, develop believable characters, and flesh out the idea narrative for your novel–and not just for the rapid-fire first draft.”

“Explores the powerful relationship between mythology and storytelling in a clear, concise style that’s made it required reading for movie executives, screenwriters, playwrights, scholars, and fans of pop culture all over the world.”

91. Writer’s Market 2018: The Most Trusted Guide to Getting Published by Robert Lee Brewer

“Want to get published and paid for your writing? Let Writer’s Market guide you through the process with thousands of publishing opportunities for writers, including listings for book publishers, consumer and trade magazines, contests and awards, and literary agents. These listings feature contact and submission information to help writers get their work published.”

92. Writing Down the Bones: Freeing the Writer Within by Natalie Goldberg

“For more than thirty years Natalie Goldberg has been challenging and cheering on writers with her books and workshops. In her groundbreaking first book, she brings together Zen meditation and writing in a new way. Writing practice, as she calls it, is no different from other forms of Zen practice—’it is backed by two thousand years of studying the mind.'”

93. Writing Hard Stories: Celebrated Memoirists Who Shaped Art from Trauma by Melanie Brooks

“What does it take to write an honest memoir? And what happens to us when we embark on that journey? Melanie Brooks sought guidance from the memoirists who most moved her to answer these questions. Called an essential book for creative writers by Poets & Writers, Writing Hard Stories is a unique compilation of authentic stories about the death of a partner, parent, or child; about violence and shunning; and about the process of writing.”

94. The Writing Life by Annie Dillard

“Slender though it is, The Writing Life richly conveys the torturous, tortuous, and in rare moments, transcendent existence of the writer. Amid moving accounts of her own writing (and life) experiences, Dillard also manages to impart wisdom to other writers, wisdom having to do with passion and commitment and taking the work seriously.”

“Culled from ten years of the distinguished Washington Post column of the same name, The Writing Life highlights an eclectic group of luminaries who have wildly varied stories to tell, but who share this singularly beguiling career. Here are their pleasures as well as their peeves; revelations of their deepest fears; dramas of triumphs and failures; insights into the demands and rewards.”

96. Writing Magic: Creating Stories That Fly by Gail Caron Levine

“Gail Carson Levine shows how you can get terrific ideas for stories, invent great beginnings and endings, write sparkling dialogue, develop memorable characters—and much, much more. She advises you about what to do when you feel stuck—and how to use helpful criticism. Best of all, she offers writing exercises that will set your imagination on fire.”

97. Writing Tools: 55 Essential Strategies for Every Writer by Roy Peter Clark 

“Ten years ago, Roy Peter Clark, America’s most influential writing teacher, whittled down almost thirty years of experience in journalism, writing, and teaching into a series of fifty short essays on different aspects of writing. In the past decade, Writing Tools has become a classic guidebook for novices and experts alike and remains one of the best loved books on writing available.”

98. Year of Yes: How to Dance It Out, Stand In the Sun and Be Your Own Person by Shonda Rhimes

“This poignant, intimate, and hilarious memoir explores Shonda’s life before her Year of Yes —from her nerdy, book-loving childhood to her devotion to creating television characters who reflected the world she saw around her. The book chronicles her life after her Year of Yes had begun—when Shonda forced herself out of the house and onto the stage; when she learned to explore, empower, applaud, and love her truest self. Yes.”

99. Your Creative Writing Masterclass by Jergen Wolff

“If you dream of being a writer, why not learn from the best? In Your Creative Writing Masterclass you’ll find ideas, techniques and encouragement from the most admired and respected contemporary and classic authors, including Charles Dickens, Jane Austen and Anton Chekhov.”

“Part memoir, part philosophical guide, the essays in this book teach the joy of writing. Rather than focusing on the mechanics of putting words on paper, Bradbury’s zen is found in the celebration of storytelling that drove him to write every day. Imparting lessons he has learned over the course of his exuberant career, Bradbury inspires with his infectious enthusiasm.”

Writing is a big messy topic, so obviously I’ll have missed some of your favorite and best books on writing. Make sure to hit the comments to talk about your favorite books about the writing life and craft. Find more of our posts on the writing life here .

You Might Also Like

VIDEO COURSE

Finish your draft in our 3-month master class. Sign up now to watch a free lesson!

Learn How to Write a Novel

Finish your draft in our 3-month master class. Enroll now for daily lessons, weekly critique, and live events. Your first lesson is free!

Blog • Perfecting your Craft

Last updated on May 20, 2024

How to Write a Novel: Steps From a Bestselling Writer

About tom bromley.

Author, editor, tutor, and bestselling ghostwriter. Tom Bromley is the head of learning at Reedsy, where he has created their acclaimed course, 'How to Write a Novel.'

About Martin Cavannagh

Head of Content at Reedsy, Martin has spent over eight years helping writers turn their ambitions into reality. As a voice in the indie publishing space, he has written for a number of outlets and spoken at conferences, including the 2024 Writers Summit at the London Book Fair.

The challenge of writing a novel is an exhilarating one. How do you transform a simple idea into a powerful narrative that grips readers from start to finish? Crafting a long-form narrative can be challenging and requires skillfully weaving together various story elements.

In this article, I will break down the major steps of novel writing into manageable pieces, organized into three categories — before, during, and after you write your manuscript.

How to write a novel in 13 steps:

1. Pick a story idea with novel potential

2. develop your main characters, 3. establish a central conflict and stakes, 4. write a logline or synopsis, 5. structure your plot, 6. pick a point of view, 7. choose a setting that benefits your story , 8. establish a writing routine, 9. shut out your inner editor, 10. revise and rewrite your first draft, 11. share it with your first readers, 12. professionally edit your manuscript, 13. publish your novel.

Every story starts with an idea.

You might be lucky, like JRR Tolkien, who was marking exam papers when a thought popped into his head: ‘In a hole in the ground there lived a hobbit.’ You might be like Jennifer Egan, who saw a wallet left in a public bathroom and imagined the repercussions of a character stealing it, which set the Pulitzer prize-winner A Visit From the Goon Squad in process. Or you might follow Khaled Hosseini, whose The Kite Runner was sparked by watching a news report on TV.

Many novelists I know keep a notebook of ideas both large and small 一 sometimes the idea they pick up on they’ll have had much earlier, but whatever reason, now feels the time to write it. Certainly, the more ideas you have, the more options you’ll have to write. 

✍️ Need a little inspiration? Check our list of 30+ story ideas for fiction writing , our list of 300+ writing prompts for creative inspiration , or even our plot generator to create story ideas .

Is your idea novel-worthy?

How do you know if what you’ve got is the inspiration for a novel, rather than a shorter form of fiction, or a 20,000-word manuscript ? There’s no definitive answer here, but there are two things to look out for 

Firstly, a novel allows you the space to show how a character changes over time, whereas a short story is often more about a vignette or an individual moment. Secondly, if an idea is fit for a novel, it’ll nag away at you: a thread asking to be pulled to see where it goes. If you find yourself coming back to an idea, then that’s probably one to explore.

I expand on cultivating and nurturing your ‘idea seeds’ in my free 10-day course on novel writing. 

FREE COURSE

How to Write a Novel

Author and ghostwriter Tom Bromley will guide you from page 1 to the finish line.

Another starting point (or essential element) for writing a novel will come in the form of the people who will populate your stories: the protagonists. 

My rule of thumb in writing is that a reader will read on for one of two reasons: either they care about the cast of characters , or they want to know what happens next (or, in an ideal world, both). Now different people will tell you that character or plot are the most important element when writing. 

In truth, it’s a bit more complicated than that: in a good novel, the main character or protagonist should shape the plot, and the plot should shape the protagonist. So you need both core elements in there, and those two core elements are entwined rather than being separate entities. 

Characters matter because when written well, readers become invested in what happens to them. You can develop the most brilliant, twisty narrative, but if the reader doesn’t care how the protagonist ends up, you’re in trouble as a writer. 

As I said above, one of the strengths of the novel is that it gives you the space to show how characters change over time. How do characters change? 

Firstly, they do so by being put in a position where they have to make decisions, difficult decisions, and difficult decisions with consequences . That’s how we find out who they really are. 

Secondly, they need to start from somewhere where they need to change: give them flaws, vulnerabilities, and foibles for them to overcome. This is what makes them human — and the reason why readers respond to and care about them.

🗿 Need more guidance? Look into your character’s past using these character development exercises , or give your character the perfect name using this character name generator .

As said earlier, it’s important to have both a great character and an interesting plot, which you can develop by making your character face some adversities.

That drama in the novel is usually built around some sort of central conflict. This conflict creates a dramatic tension that compels the reader to read on. They want to see the outcome of that conflict resolved: the ultimate resolution of the conflict (hopefully) creates a satisfying ending to the narrative.

A character changes, as I said above, when they are put in a position of making decisions with consequences. Those consequences are important. It isn’t enough for a character to have a goal or a dream or something they need to achieve (to slay the dragon): there also needs to be consequences if they don’t get what they’re after (the dragon burns their house down). Upping the stakes heightens the drama all round.

Now you have enough ingredients to start writing your novel, but before you do that, it can be useful to tighten them all up into a synopsis. 

So far, you’ve got your story idea, your central characters, and your sense of conflict and stakes. Now is the time to distill this down into a narrative. Different writers approach this planning stage in different ways, as we’ll come to in a moment, but for anyone starting a novel, having a clear sense of what is at the heart of your story is crucial. 

There are a lot of different terms used here 一 pitch, elevator pitch , logline, shoutline, or the hook of your summary 一 but whatever the terminology the idea remains the same. This is to summarize your story in as few words as possible: a couple of dozen words, say, or perhaps a single sentence. 

This exercise will force you to think about what your novel is fundamentally about. What is the conflict at the core of the story? What are the challenges facing your main protagonist? What do they have at stake? 

📚 Check out these 48 irresistible book hook examples and get inspired to craft your own hook .

If you need some help, as you go through the steps in this guide, you can fill in this template:

My story is a [genre] novel. It’s told from [perspective] and is set in [place and time period] . It follows [protagonist] , who wants [goal] because [motivation] . But [conflict] doesn’t make that easy, putting [stake] at risk.

It's not an easy thing to write this summarising sentence or two. In fact, they might be the most difficult sentences to get down in the whole writing process. But it is really useful in helping you to clarify what your book is about before you begin. When you’re stuck in the middle of the writing, it will be there for you to refer back to. And further down the line, when you’ve finished the novel, it will prove invaluable in  pitching to agents , publishers, and readers. 

📼 Learn more about the process of writing a logline from professional editor Jeff Lyons. 

Another particularly important step to prepare for the writing part, is to outline your plot into different key story points. 

There’s no right answer here as to how much planning you should do before you write: it very much depends on the sort of writer you are. Some writers find planning out their novel before start gives them confidence and reassurance knowing where their book is going to go. But others find this level of detail restrictive: they’re driven more by the freedom of discovering where the writing might take them. 

This is sometimes described as a debate between ‘planners’ and ‘pantsers’ (those who fly by the seat of their pants). In reality, most writers sit somewhere on a sliding scale between the two extremes. Find your sweet spot and go from there!

If you’re a planning type, there’s plenty of established story structures out there to build your story around. Popular theories include the Save the Cat story model and Christopher Vogler’s Hero’s Journey for characters . Then there are books such as Christopher Booker’s The Seven Basic Plots , which suggests that all stories are one of, well, you can probably work that out.

Whatever the structure, most stories follow the underlying principle of having a beginning, middle and end (and one that usually results in a process of change). So even if you’re ‘pantsing’ rather than planning, it’s helpful to know your direction of travel, though you might not yet know how your story is going to get there. 

Finally, remember what I said earlier about plot and character being entwined: your character’s journey shouldn’t be separate to what happens in the story. Indeed, sometimes it can be helpful to work out the character’s journey of change first, and shape the plot around that, rather than the other way round. 

Now, let’s consider which perspective you’re going to write your story from. 

However much plotting you decide to do before you start writing, there are two further elements to think about before you start putting pen to paper (or finger to keyboard). The first one is to think about which perspective you’re going to tell your story from . It is worth thinking about this before you start writing because deciding to change midway through your story is a horribly thankless task (I speak from bitter personal experience!)

Although there might seem a large number of viewpoints you could tell your story from, in reality, most fiction is told from two points of view 一 first person (the ‘I’ form) and third person ‘close’ (he/she/they) . ‘Close’ third person is when the story is witnessed from one character’s view at a time (as opposed to third person ‘omniscient’ where the story can drop into lots of people’s thoughts).

Both of these viewpoints have advantages and disadvantages. First person is usually better for intimacy and getting into character’s thoughts: the flip side is that its voice can feel a bit claustrophobic and restrictive in the storytelling. Third person close offers you more options and more space to tell your story: but can feel less intimate as a result. 

There’s no right and wrong here in terms of which is the ‘best’ viewpoint. It depends on the particular demands of the story that you are wanting to write. And it also depends on what you most feel comfortable writing in. It can be a useful exercise to write a short section in both viewpoints to see which feels the best fit for you before starting to write. 

Besides choosing a point of view, consider the setting you’re going to place your story in.

The final element to consider before beginning your story is to think about where your story is going to be located . Settings play a surprisingly important part in bringing a story to life. When done well, they add in mood and atmosphere and can act almost like an additional character in your novel.

There are many questions to consider here. And again, it depends a bit on the demands of the story that you are writing. 

Is your setting going to a real place, a fictional one, or a real place with fictional elements? Is it going to be set in the present day, the past, or at an unspecified time? Are you going to set your story in somewhere you know, or need to research to capture properly? Finally, is your setting suited to the story you are telling, and serve to accentuate it, rather than just acting as a backdrop?

If you’re writing a novel in genres such as fantasy or science fiction , then you may well need to go into some additional world-building as well before you start writing. Here, you may have to consider everything from the rules and mores of society to the existence of magical powers, fantastic beasts, extraterrestrials, and futuristic technology. All of these can have a bearing on the story, so it is better to have a clear setup in your head before you start to write.

Whether your story is set in central London or the outer rings of the solar system, some elements of the descriptive detail remain the same. Think about the use of all the different senses — the sights, sounds, smells, tastes, and textures of where you’re writing about. Those sorts of small details can help to bring any setting to life, from the familiar to the imaginary. 

Alright, enough brainstorming and planning. It’s time to let the words flow on the page. 

Having done your prep — or as much prep and planning as you feel you need — it’s time to get down to business and write the thing. Getting a full draft of a novel is no easy task, but you can help yourself by setting out some goals before you start writing.

Firstly, think about how you write best. Are you a morning person or an evening person? Would you write better at home or out and about, in a café or a library, say? Do you need silence to write, or musical encouragement to get the juices flowing? Are you a regular writer, chipping away at the novel day by day, or more of a weekend splurger?

I’d always be wary of anyone who tells you how you should be writing. Find a routine and a setup that works for you . That might not always be the obvious one: the crime writer Jo Nesbø spent a while creating the perfect writing room but discovered he couldn’t write there and ended up in the café around the corner.

You might not keep the same way of writing throughout the novel: routines can help, but they can also become monotonous. You may need to find a way to shake things up to keep going.

Deadlines help here. If you’re writing a 75,000-word novel, then working at a pace of 5,000 words a week will take you 15 weeks (Monday to Friday, that’s 1000 words a day). Half the pace will take twice as long. Set yourself a realistic deadline to finish the book (and key points along the way). Without a deadline, the writing can end up drifting, but it needs to be realistic to avoid giving yourself a hard time. 

In my experience, writing speeds vary. I tend to start quite slowly on a book, and speed up towards the end. There are times when the tap is open, and the words are pouring out: make the most of those moments. There are times, too, when each extra sentence feels like torture: don’t beat yourself up here. Be kind to yourself: it’s a big, demanding project you’re undertaking.

Speaking of self-compassion, a word on that harsh editor inside your mind…

The other important piece of advice is to continue writing forward. It is very easy, and very tempting, to go back over what you’ve written and give it a quick edit. Once you start down that slippery slope, you end up rewriting and reworking the same scene and never get any further forwards in the text. I know of writers who spent months perfecting their first chapter before writing on, only to delete that beginning as the demands of the story changed.

The first draft of your novel isn’t about perfection; it’s about getting the words down. One writer I work with calls it the ‘vomit draft’ — getting everything out and onto the page. It’s only once you’ve got a full manuscript down that you can see your ideas in context and have the capacity to edit everything properly. So as much as your inner editor might be calling you, resist! They’ll have their moment in the sun later on. For now, it’s about getting a complete version down, that you can go on to work with and shape. 

By now, you’ve reached the end of your first draft (I might be glossing over the hard writing part just a little here: if you want more detail and help on how to get through to the end of your draft, our How to Write A Novel course is warmly recommended ). 

Reaching the end of your first draft is an important milestone in the journey of a book. Sadly for those who feel that this is the end of the story, it’s actually more of a stepping stone than the finish line.

In some ways, now the hard work begins. The difference between wannabe writers and those who get published can often be found in the amount of rewriting done. Professional writers will go back and back over what they’ve written, honing what they’ve created until the text is as tight and taut as it is possible to be.

How do you go about achieving this? The first thing to do upon finishing is to put the manuscript in a drawer. I leave it for a month or six weeks before you come back to it. That way, you’ll return the script with a fresh pair of eyes. Read it back through and be honest about what works and what doesn’t. As you read the script, think in particular about pace: are there sections in the novel that are too fast or too slow? Avoid the trap of the saggy middle . Then consider: is your character arc complete and coherent ? Look at the big-picture stuff first before you tackle the smaller details. 

Edit your novel closely

On that note, here are a few things you might want to keep an eye out for:

Show, don’t tell. Sometimes, you just need to state something matter-of-factly in your novel, that’s fine. But, as much as you can, try to illustrate a point instead of just stating it . Keep in mind the words of Anton Chekhov: “Don’t tell me the moon is shining. Show me the glint of light on broken glass."

“Said” is your friend. When it comes to dialogue, there can be the temptation to spice things up a bit by using tags like “exclaimed,” “asserted,” or “remarked.” And while there might be a time and place for these, 90% of the time, “said” is the best tag to use. Anything else can feel distracting or forced. 

Stay away from purple prose. Purple prose is overly embellished language that doesn’t add much to the story . It convolutes the intended message and can be a real turn-off for readers.

Once you feel it’s good enough for others to examine it, you should ask for feedback.

Writing a novel is a two-way process: there’s you, the writer, and there’s the intended audience, the reader. The only way that you can find out if what you’ve written is successful is to ask people to read and get feedback.

Think about when to ask for feedback and who to ask it from. There are moments in the writing when feedback is useful and others where it gets in the way. To save time, I often ask for feedback in those six weeks when the script is in the drawer (though I don’t look at those comments until I’ve read back myself first). The best people to ask for feedback are fellow writers and people who can beta read your book : they know what you’re going through and will also be most likely to offer you constructive feedback. 

Also, consider working with sensitivity readers if you are writing about a place or culture outside your own. Friends and family can also be useful but are a riskier proposition: they might be really helpful, but equally, they might just tell you it’s great or terrible, neither of which is overly useful.

Feedbacking works best when you can find at least a few people to read, and you can pool their comments. My rule is that if more than one person is saying the same thing, they are probably right. If only one person is saying something, then you have a judgment call to make as to whether to take those comments further (though usually, you’ll know in your gut whether they are right or not.)

Overall, the best feedback you can receive is that of a professional editor…

Once you’ve completed your rewrites and taken in comments from your chosen feedbackers, it’s time to take a deep breath and seek outside opinions. What happens next here depends on which route you want to take to market:

If you want to go down the traditional publishing route , you’ll probably need to get a literary agent, which we’ll discuss in a moment.

If you’re going down the self-publishing route , you’ll need to do what would be done in a traditional publishing house and take your book through the editing process. This normally happens in three stages. 

Developmental editing. The first of these is to work with a developmental editor , who will read and critique your work primarily from a structural point of view. 

Copy-editing. Secondly, the book must be copy-edited , where an editor works more closely, line-by-line, on the script. 

Proofreading. Finally, usually once the script has been typeset, then the material should be professionally proofread, to spot any final mistakes or orrors . Sorry, errors!

Finding such people can sound like a daunting task. But fear not! Here at Reedsy, we have a fantastic fleet of editors of all shapes, sizes, and experiences. So whatever your needs or requirements, we should be able to pair you with an editor to suit.

Finish your book with expert help

The best editors in the industry are on Reedsy. Come meet them.

Learn how Reedsy can help you craft a beautiful book.

Now that you’ve ironed out all the wrinkles of your manuscript, it’s time to release it into the wild.

For those thinking about going the traditional publishing route, now’s the time for you to get to work. Most trade publishers will only accept work from a literary agent, so you’ll need to find a suitable literary agent to represent your work . 

The querying process is not always straightforward: it involves research, waiting and often a lot of rejections until you find the right person (I was rejected by 24 agents before I found my first agent). Usually, an agent will ask to see a synopsis and the first three chapters (check their websites for submission details). If they like what they read, they’ll ask to see the whole thing. 

If you’re self-publishing, you’ll need to think about getting your finished manuscript to market. You’ll need to get it typeset (laid out in book form) and find a cover designer . Do you want to sell printed copies or just ebooks? You’ll need to work out how to work Amazon , and also how you’ll sell your book  to generate more sales through marketing .

For those picked up by a traditional publisher, all the editing steps discussed will take place in-house. That might sound like a smoother process, but the flip side can be less control over the process: a publisher may have the final say in the cover or the title, and lead times (when the book is published) are usually much longer. So, it’s worth thinking about which route to market works best for you.

Finally, you’re a published author! Congratulations. Now all you have to do is think about writing the next one… 

8 responses

Sasha Winslow says:

14/05/2019 – 02:56

I started writing in February 2019. It was random, but there was an urge to the story I wanted to write. At first, I was all over the place. I knew the genre I wanted to write was Fantasy ( YA or Adult). That has been my only solid starting point the genre. From February to now, I've changed my story so many times, but I am happy to say by giving my characters names I kept them. I write this all to say is thank you for this comprehensive step by step. Definitely see where my issues are and ways to fix it. Thank you, thank you, thank you!

Evelyn P. Norris says:

30/10/2019 – 14:18

My number one tip is to write in order. If you have a good idea for a future scene, write down the idea for the scene, but do NOT write it ahead of time. That's a major cause of writer's block that I discovered. Write sequentially. :) If you can't help yourself, make sure you at least write it in a different document, and just ignore that scene until you actually get to that part of the novel

Allen P. Wilkinson says:

28/01/2020 – 04:51

How can we take your advice seriously when you don’t even know the difference between stationary and stationery? Makes me wonder how competent your copy editors are.

↪️ Martin Cavannagh replied:

29/01/2020 – 15:37

Thanks for spotting the typo!

↪️ Chris Waite replied:

14/02/2020 – 13:17

IF you're referring to their use of 'stationery' under the section '1. Nail down the story idea' (it's the only reference on this page) then the fact that YOU don't know the difference between stationery and stationary and then bother to tell the author of this brilliant blog how useless they must be when it's YOU that is the thicko tells me everything I need to know about you and your use of a middle initial. Bellend springs to mind.

Sapei shimrah says:

18/03/2020 – 13:59

Thanks i will start writing now

Jeremy says:

25/03/2020 – 22:41

I’ve run the gamut between plotter and pantser, but lately I’ve settled on in-depth plotting before my novels. It’s hard for me to do focus wise, but I’m finding I’m spending less time in writer’s block. What trips me up more is finding the right voice for my characters. I’m currently working on a sci-fi YA novel and using the Save the Cat beat sheet for structure for the first time. Thank you for the article!

Nick Girdwood says:

29/04/2020 – 10:32

Can you not write a story without some huge theme?

Comments are currently closed.

Continue reading

Recommended posts from the Reedsy Blog

100+ Character Ideas (and How to Come Up With Your Own)

Character creation can be challenging. To help spark your creativity, here’s a list of 100+ character ideas, along with tips on how to come up with your own.

How to Introduce a Character: 8 Tips To Hook Readers In

Introducing characters is an art, and these eight tips and examples will help you master it.

450+ Powerful Adjectives to Describe a Person (With Examples)

Want a handy list to help you bring your characters to life? Discover words that describe physical attributes, dispositions, and emotions.

How to Plot a Novel Like a NYT Bestselling Author

Need to plot your novel? Follow these 7 steps from New York Times bestselling author Caroline Leavitt.

How to Write an Autobiography: The Story of Your Life

Want to write your autobiography but aren’t sure where to start? This step-by-step guide will take you from opening lines to publishing it for everyone to read.

What is the Climax of a Story? Examples & Tips

The climax is perhaps a story's most crucial moment, but many writers struggle to stick the landing. Let's see what makes for a great story climax.

Join a community of over 1 million authors

Reedsy is more than just a blog. Become a member today to discover how we can help you publish a beautiful book.

Bring your stories to life

Our free writing app lets you set writing goals and track your progress, so you can finally write that book!

1 million authors trust the professionals on Reedsy. Come meet them.

Enter your email or get started with a social account:

Kindlepreneur

Book Marketing for Self-Publishing Authors

Home / Book Writing / How to Plot a Novel: A Step-by-Step Guide for Writers

How to Plot a Novel: A Step-by-Step Guide for Writers

Plotting a novel can feel like an overwhelming task, especially for new writers. When I first decided to write a book, I had no idea where to begin with structuring a full-length narrative. Like most authors, I had plenty of ideas swimming around in my head, but no clue how to organize them into a cohesive story.

In this guide, I will help you plan your novel from start to finish, including coming up with ideas and outlining plot points . By the end, you'll feel equipped and excited to plot your own novel in a way that sets you up for success.

• The essential building blocks of a good plot
• How to brainstorm compelling story ideas
• Techniques for developing a strong premise
• Methods for structuring your plot using templates
• Tips for creating effective scenes

Table of contents

• Key Elements of Story Structure
• What Makes a Good Novel Plot?
• Supercharge Your Novel Writing with Atticus
• Step 1: Assemble Your Puzzle Pieces
• Step 2: Use a Story Structure
• Step 3: Layer in a Subplot
• Step 4: Develop Strong Character Arcs
• Step 5: Ensure Every Scene Has Conflict
• Alternative: The Snowflake Method
• How Long Does it Take to Plot a Novel?
• Additional Tips for Effective Novel Plotting

Understanding the Basics of Plot

To plot a novel effectively, it's important to first grasp the basic elements that form a story's structure . Think of your narrative as a house – the plot structure is the framework and foundation that holds everything together.

Most stories follow a similar basic blueprint, typically containing these key parts:

• Exposition : Introduce important background information, setting, protagonist, and other main characters.
• Inciting Incident : The event that hooks readers and disrupts the status quo, propelling your protagonist into the main action.
• Rising Action : Events that build tension, complicate the conflict, and raise stakes as the story progresses.
• Climax : The most intense moment in a story when the main character confronts their greatest challenge.
• Falling Action : Events showing the aftermath of the climax and its effects on the characters.
• Resolution : The conclusion addresses the remaining conflicts and reveals the protagonist's new status quo.

Having a solid grasp of these story structure elements will make plotting your novel much easier.

At its core, a good plot is one that engages readers and keeps them turning pages. Here are some hallmarks of an effective, well-constructed narrative plot:

• A compelling premise or hook
• Forward momentum
• Meaningful conflict
• Unpredictability
• Strong pacing
• Clear stakes
• A satisfying payoff

How to Plot a Novel: The Best Techniques

Ready to turn your plot into a polished manuscript? Atticus is our #1 recommended book writing and formatting software for authors. With its intuitive interface and powerful features, Atticus helps you:

• Organize your plot points and chapters effortlessly
• Track character arcs and subplots
• Set and monitor writing goals
• Format your book for publication with just a few clicks

Whether you're a plotter or a pantser, Atticus streamlines your writing process from first draft to final publication. Try Atticus today and experience the difference in your novel writing journey!

Learn More About Atticus

Now let's dive into how to actually plot a novel from start to finish. I'll walk you through my 5-step process that I've developed over years of writing and teaching other authors.

Before structuring your plot, gather the key elements you'll be working with:

• Protagonist
• Main supporting characters
• Thematic elements
• Core conflict
• Possible plot events

Don't worry about how these pieces fit together yet – just get clear on what you have to work with.

Now it's time to start arranging your elements into a coherent plot structure. I recommend starting with a basic three-act narrative arc:

Act 1 – Setup : Establish your protagonist, other central characters, setting, and status quo. Build toward the inciting incident.

Act 2 – Confrontation : Develop your rising action with increasingly difficult obstacles for your protagonist to overcome.

Act 3 – Resolution : Decide how your main character will face the climax and think of events that lead to a satisfying ending.

Once you have your main plot arc mapped out, weave in one or more subplots to add richness and complexity to the story. Some tips:

• Tie subplots thematically into your main arc
• Ensure they complement rather than complicate the main plot
• Use subplots to reveal additional aspects of your characters
• Interweave subplot events throughout your main plot arc for variety

As you plot out events, always keep one eye on how your protagonist and other key characters are evolving. Some tips for developing character arcs:

• Identify your protagonist's core flaw or wound they need to overcome
• Align external plot events with internal shifts
• Choose turning points that force your protagonist to grow
• Have side characters undergo change as well

Within each act of your plot, break the story down into individual scenes. Ensure every scene has some kind of conflict, tension, or obstacle driving it forward. Ask yourself:

• What is the purpose of this scene?
• What conflict are the characters facing?
• Is the conflict external, internal, or both?
• Does this advance the plot or character arcs?
• How does this set up the next scene or moment in the story?

If outlining your entire novel from the start feels too rigid, try the “snowflake method” popularized by Randy Ingermanson:

• Start with a one-sentence summary of your novel.
• Expand that into a full paragraph summarizing the story arc.
• Write character and setting descriptions for each main element.
• Outline each act in a paragraph.
• Write a 1-2 sentence summary of each planned scene .
• Continually expand on each sentence with more details.

This method allows you to gradually build out your plot, adding layers of depth as you go.

No one-size-fits-all answer exists because individual writers and story complexities influence plotting timelines. However, for most authors, especially indie authors, it usually ranges from a few days to about a month .

Be careful not to spend too long in the plotting phase. It's easy to say you want the perfect plot, but you might be wasting time because you're afraid to start writing. Sometimes, it's just time to begin.

With the rise of AI tools, brainstorming and other tasks can become easier. I once spent a day plotting my novel with AI as a brainstorming partner. It took me just one day, so these tools can be powerful time-savers.

Formatting Has Never Been Easier

Write and format professional books with ease.  Never before has creating formatted books been easier.

Here are some extra tips to help you improve your plotting skills:

• Use visual aids like index cards, whiteboards, or plot diagram worksheets to map out your story events.
• Read books and watch movies in your genre to study effective plot structures.
• Enlist beta readers to provide feedback on your plot outline before drafting.
• Be open to changing your outline if new ideas arise while writing.
• Keep track of any plot holes you notice in an editing file for easy reference later.
• Resist over-complicating – strive for the simplest version of your plot that still engages readers.
• Ensure cause-and-effect logic flows clearly from event to event.

Plotting a novel doesn't have to be an overwhelming task. You can write an interesting story by following simple steps. Use effective methods to keep readers engaged from beginning to end. Remember, there's no one “right” way to plot a novel – experiment with different methods to find what works best for you.

Now that you have the tools and knowledge to plot your novel effectively, it's time to put them into action. Start brainstorming your story ideas, outlining your plot points, and bringing your characters to life. Happy writing!

Dave Chesson

When I’m not sipping tea with princesses or lightsaber dueling with little Jedi, I’m a book marketing nut. Having consulted multiple publishing companies and NYT best-selling authors, I created Kindlepreneur to help authors sell more books. I’ve even been called “The Kindlepreneur” by Amazon publicly, and I’m here to help you with your author journey.

Related Posts

Best book writing software 2024 [writing, editing & focus], author vs writer: what’s the difference, how to write an adventure story, sell more books on amazon, amazon kindle rankings e-book.

Learn how to rank your Kindle book #1 on Amazon with our collection of time-tested tips and tricks.

Join the community

Join 111,585 other authors who receive weekly emails from us to help them make more money selling books.

• Faculty Issues
• Shared Governance

‘Red Wedding’: Storied Stanford Creative Writing Program Laying Off Lecturers

The university says creative writing faculty recommended returning its Jones Lectureships to their “original intent” as short-term teaching appointments for talented writers. A lecturer of 20 years said he thinks there’s a “peasants and lords issue” in the program.

By  Ryan Quinn

You have / 5 articles left. Sign up for a free account or log in.

Stanford University is laying off its current Jones Lecturers.

Some Stanford University lecturers are likening it to the “red wedding” in Game of Thrones —a massacre of characters by their supposed allies amid what had been billed as a celebratory feast.

Last Wednesday, a dean, a senior associate dean and a co-director of Stanford’s storied and popular creative writing program held a Zoom meeting with the program’s 23 Jones Lecturers, according to some of those lecturers, who were chosen from the ranks of those who have held the university’s prestigious Stegner Fellowship for writers.

The university leaders complimented the Jones Lecturers over Zoom. “They praised us to the moon,” Tom Kealey, a lecturer for two decades, told Inside Higher Ed . “Endlessly” praised was how Edward Porter, a lecturer of eight years, put it.

Most Popular

• Colleges slam Ed Department's proposed attendance policy
• Report finds professors are burned out, thanks to technology
• Advice for students so they don't sound silly in emails (essay)

Then, Kealey said, the leaders announced they would all be losing their jobs within the next two academic years. “The worst part is to be praised while you’re being fired,” Porter said. According to notes he took of the meeting, Nicholas Jenkins, the program’s co-director, said something to the effect of “you’re excellent, but others will be excellent in the future.”

There was an added sense of betrayal. The deans—Debra Satz, dean of the School of Humanities and Sciences, and Gabriella Safran, senior associate dean of humanities and arts—said this wasn’t their decision, according to Kealey. In Medium posts on the ordeal, he wrote that they said it came from “the senior professors of creative writing.”

“These are literally our teaching colleagues of the last five to 15 years,” Kealey wrote. “And they decided in a previous secret meeting to fire all 23 of their junior colleagues.” In another post, he wrote that “it was only the MALE professors who voted to fire us.” ( Inside Higher Ed reached out Tuesday to some of the male creative writing professors on Tuesday, but received no responses.)

In an unsigned announcement last Wednesday on the university’s website, Stanford said it is returning to the “original intent of the Jones Lectureships: one-year appointments with the possibility of renewal for a limited term.” That announcement said the recommendation came from faculty members on a “Working Group of Creative Writing Academic Council faculty,” but it didn’t name them.

Satz, Safran and Jenkins said in an emailed joint statement to Inside Higher Ed that "this change will again allow Stegner Fellows the opportunity to apply to be Jones Lecturers once they have completed their fellowships. Jones Lecturers will have one-year appointments with the possibility of renewal for up to four additional years."

While it’s no longer rare for non-tenure-track faculty members to be laid off by higher education institutions facing budget woes, Stanford is a wealthy institution and creative writing is, by its own admission, a popular program.

“We have a large number of fully enrolled classes, many with significant waitlists and some where the waitlists are longer than the enrollment roster,” Jenkins said in a February 2023 article on the university’s website. He also said, “We’re in a remarkable period of hiring during which we’re fortunate enough to be bringing to campus an extraordinarily talented array of significant artists and teachers.”

But the lecturers say they’re the ones teaching most of the creative writing classes for undergraduates, and that their years of experience improve teaching. Kealey said some lecturers teach five classes a year; others teach four. He wrote on Medium of the senior creative writing professors that “the 10 of them … taught 13 undergraduate classes last year (and 19 overall, less than two classes taught per professor).”

The leaders said during the Zoom meeting the decision wasn’t about money, according to Porter. “It’s maddening to have outstanding enrollment and be phased out anyway,” he said. While the university has said it wants to simply return the Jones Lectureships to the short stints they used to be, Kealey suggests the tenured professors in his department had other motives.

“I think there’s a peasants and lords issue here,” Kealey said.

A Long Time Coming?

In 1946, Wallace Stegner, who would go on to win the Pulitzer Prize for fiction for Angle of Repose , founded Stanford’s creative writing program. The Stegner Fellowships are named in his honor.

Editors’ Picks

• Faculty Members Are Burned Out—and Technology Is Partly to Blame
• Anti-Science Harassment Is on the Rise
• Colleges Must Accommodate Pregnant Students Under New Title IX

E. H. Jones, who had an oil fortune, funded the fellowships and also established the connected Jones Lectureships, according to the university’s announcement from last week. It said these were meant to be “limited, fixed-year teaching appointments, allowing exceptional Stegner Fellows some time and support to prepare a manuscript for publication, hone their teaching skills and transition to a longer-term teaching career elsewhere.”

But “over time this framework of term-limited appointments was not followed,” the university said. It did not say when that change occurred. It might have had something to do with Eavan Boland.

Boland, an Irish poet, led the creative writing program for 20 years until her sudden death in 2020. “Eavan was just a fierce defender of the program,” Kealey said. He said her death “was a great loss to all of us.”

When Boland joined the program, Kealey said, it had maybe 20 or 25 classes. But Boland wanted every student who so desired to be able to take a creative writing class. Kealey said lecturers went to residence halls in early years to speak with students about the program. Over about 15 years, Kealey said, the program grew to offer about 120 classes.

Porter said Boland “developed a large cadre of about 20 to 25 lecturers.” Even though they were on one-year contracts, Porter said, they kept getting renewed. He said it’s true that Boland did move the lectureships away from their original intent—but that it was beneficial for students, teaching and the program.

“There are a lot of human skills to playing this game, and those don’t come in a year,” Porter said. “We have letters, testimonials from students about how much we’ve meant to them. We’re also very available to them—we talk to them outside of class, there’s a sense of continuing mentorship if they want it.”

Now, Porter said, “there is at least the appearance” of the university creating “artificial scarcity,” suggesting there’s no room for the new, younger Stegner Fellows writers to get a leg up by becoming Jones Lecturers “because these crusty old folks are hogging up all the real estate.” Safran, the senior associate dean, said, per Porter’s meeting notes, that “in some years few or no Stegners were able to advance.”

Kealey said, “There’s no shortage of space for new Stegner Fellows to be hired into the Jones Lectureships, but, I don’t know, the professors wanted to do a scorched earth with this, and that’s what they’ve done.”

The lecturers said they pushed for, and received, raises from the university in September 2023. “Exactly a year later we’re all fired,” so “connect the dots here,” Kealey said. “I think the lords didn’t like that—didn’t like the peasants speaking up.”

Porter talked about “balancing one set of values against the other.” He said the tenured or tenure-track “creative writing faculty doesn’t teach many classes and many of them are not involved—they don’t care about the undergraduates. It’s not their job to care; it’s their job to write books, be famous and raise money, and that’s very necessary.”

And part of the purpose of the Jones Lectureship program is to give new writers a step up. But Porter worries about the other side of the equation being lost. “It’s our job to care about the undergrads,” he said.

A Leadership Position We Aren’t Prepared For

Faculty members who run a lab have a research job and a leadership job, but they are often only trained for one of th

Share This Article

More from shared governance.

New College of Florida Is Dumping Books—and Losing Professors

The conservative transformation of the institution continues, with gender studies texts being tossed and the faculty

A Big Chunk of Professors Flunked U of Florida Post-Tenure Review

After the state required post-tenure reviews, roughly one-fifth of the UF professors evaluated in the first round wer

The Growing Trend of Attacks on Tenure

A study of around a decade of legislative proposals to ban tenure finds some common characteristics of states where t

• Become a Member
• Sign up for Newsletters
• Learning & Assessment
• Diversity & Equity
• Career Development
• Labor & Unionization
• Academic Freedom
• Books & Publishing
• Financial Aid
• Residential Life
• Free Speech
• Physical & Mental Health
• Race & Ethnicity
• Sex & Gender
• Socioeconomics
• Traditional-Age
• Adult & Post-Traditional
• Teaching & Learning
• Artificial Intelligence
• Digital Publishing
• Data Analytics
• Administrative Tech
• Alternative Credentials
• Financial Health
• Cost-Cutting
• Revenue Strategies
• Academic Programs
• Physical Campuses
• Mergers & Collaboration
• Fundraising
• Research Universities
• Regional Public Universities
• Community Colleges
• Private Nonprofit Colleges
• Minority-Serving Institutions
• Religious Colleges
• Women's Colleges
• Specialized Colleges
• For-Profit Colleges
• Executive Leadership
• Trustees & Regents
• State Oversight
• Accreditation
• Politics & Elections
• Supreme Court
• Student Aid Policy
• Science & Research Policy
• State Policy
• Colleges & Localities
• Employee Satisfaction
• Remote & Flexible Work
• Staff Issues
• Study Abroad
• International Students in U.S.
• U.S. Colleges in the World
• Intellectual Affairs
• Seeking a Faculty Job
• Advancing in the Faculty
• Seeking an Administrative Job
• Advancing as an Administrator
• Beyond Transfer
• Call to Action
• Confessions of a Community College Dean
• Higher Ed Gamma
• Higher Ed Policy
• Just Explain It to Me!
• Just Visiting
• Law, Policy—and IT?
• Leadership & StratEDgy
• Leadership in Higher Education
• Learning Innovation
• Online: Trending Now
• Resident Scholar
• University of Venus
• Student Voice
• Academic Life
• Health & Wellness
• The College Experience
• Life After College
• Academic Minute
• Weekly Wisdom
• Reports & Data
• Quick Takes
• Advertising & Marketing
• Consulting Services
• Data & Insights
• Hiring & Jobs
• Event Partnerships

4 /5 Articles remaining this month.

Sign up for a free account or log in.

• Sign Up, It’s FREE

Five Things I Learned in the Process of Writing a Book

Embarking on the journey of writing a book can be both exciting and daunting, as emma edwards discovered when authoring her personal finance book "good with money". whether you're looking to write for financial gain or just for the love of it, emma's lessons learned offer practical advice for anyone embarking on the challenging yet rewarding adventure of writing a book..

If you’ve ever considered writing a book, you’re not alone. In fact, it’s estimated that as many as 80% of people say they’d like to write a book one day. I was one of those people, and now, after 18 months of work, I published my first book, Good With Money (crowd cheers!)

Unsurprisingly, book writing isn’t all sunshine and rainbows. It was actually a lot of tears and sour Skittles, if I’m honest. But it was one hell of an experience. If you’ve ever thought about putting pen to paper — or perhaps more appropriately, fingers to keys — here are five things I learned along the way that might help you.

1. You need to work with your brain

We all approach work differently — and writing a book will tell you a lot about how your brain works. Some people swear by the rule of writing for one hour every morning or holding themselves accountable to writing every single day for however long they feel able to. I, however, found that I needed at least an hour of procrastination time (read: Staring at the wall, unable to get started) before I had any hope of getting anything done. Needless to say, the hour-a-day rule didn’t work for me. Instead, I found I needed to carve out entire days dedicated to writing so that I had time to get distracted, go for a walk around the block, get in the headspace to write something and step away whenever I got too overwhelmed.

I would set Pomodoro timers for short 25-minute bursts of work, where I’d often smash out over 1,000 words at a time, before spending equally as long doing anything but writing. At first I felt guilty, like I wasn’t working hard enough. I’d get to the end of a writing day and have written 5,000 words, but done so in five intense time blocks of 25-45 minutes each. Letting go of how I thought an author ‘should’ work meant I could focus on just getting the words out, however that looked.

2. You will hate everything you’ve written at multiple points

This was the part I was most unprepared for. I really wanted to fall in love with my book, but for the most part, I hated it. You get to the point where you’re so familiar with what you’ve written, and you’ve gone through so many iterations of the content itself, that you lose all sense of rational thought, and you’ll truly believe that your book is awful. If you’re anything like me, you’ll take that even further and decide that you’re actually terrible at what you do and don’t know anything about your subject matter.

During one particularly emotionally charged writing day, I found myself deep in a Reddit discussion between authors. An author in that thread had said, “The only thing you’ll hate more than the words you’ve still got to write are the words you’ve already written,” and I breathed a huge sigh of relief that I wasn’t alone.

You will hate your book. It’s normal. It comes and goes, but you have to just accept it. I got into a good rhythm eventually. Any time I started to feel that panic coming on, I would shut my laptop, go outside and come back to it in half an hour, and work on a different section when I did so.

3. Choosing a title really, really helps

The real turning point for my book writing journey was when I settled on the title, Good With Money. For a long time I was working with an ‘untitled manuscript’, but it made it really difficult to settle on a direction or weave in thematic links to the overall direction of the book. It also helped me pull myself out of mental spirals by giving me an anchor point to bring everything back to. I think that’s especially important for non-fiction books.

I’d originally planned to just get words out and shape the title later, which probably does work for some people. But if you’re finding yourself going around in circles, spending some time brainstorming titles might really help. It can feel like you’re wasting time, but trust me. It needs to be done at some point.

4. Scaffolding out your structure needs to be a priority

When you’re writing a book, you’re pouring all your knowledge, passion, analogies, frameworks, and stories about your subject matter into one little container — and organizing that can be a bit of a stress sandwich.

You’re taking your reader through a transformation. They’re a different version of themselves after reading your book. And wanting to get that transformation right can make it hard to know when to introduce certain concepts, how to structure the information, and how to introduce and conclude different subsections of the book.

One of the most valuable conversations I had during my book writing experience was with a fellow non-fiction author who had finished her manuscript recently. She said to me, “Emma, just pick a structure and write to it.” And that’s when I realized: My quest for the one perfect structure was keeping me stuck. There’s no one right way to write your book or tell your story, but it serves as a great procrastination activity to keep tweaking your chapter list or scrapping the whole thing and starting a new one.

No structure is worth anything if you never write to it. So if you’re stuck on structure, take the advice I did: Just pick one. I didn’t personally make use of AI tools like ChatGPT during my book writing process, but if I did it again, I might consider trialling different prompts to get thought-starter ideas on structure.

5. Reading other people’s books is a bad idea

Yikes, did I wish someone had told me this. When I was feeling particularly uninspired on how to shape my brain dumped words into a book, I tried reading other non-fiction books in the hope it would help things click. Big mistake.

A published book has gone through multiple rounds of edits, usually with a team of people working on it. Comparing your messy manuscript to a completed and published product is a surefire way to double down on your self-doubt and make the end goal feel even more unreachable.

My advice? Don’t read other non-fiction books while writing yours. I devoured a lot of fiction, though. It helped me switch my brain off and renew my creativity.

Curious as to how this chaotic process turned into a book? Get your copy of Good With Money at all major retailers and many independents across Australia and New Zealand.

Emma Edwards is a finance copywriter and blogger, on a mission to humanize the financial services industry by creating meaningful content that’s accessible and empowering. You’ll find her penning money tips at her blog, The Broke Generation , sharing financial insights on Instagram , or injecting life into content for her business clients.

Money tips 10 minute read

Written by Emma Edwards August 26, 2024

The latest PocketSmith scoop in your inbox

Please enter a valid email address.

Sign up for the best of PocketSmith every month. No nonsense. No spam. Unsubscribe anytime.

Thank you for signing up to the PocketSmith newsletter. You'll receive your newsletter once a month!

Related articles

Who is the richest author in the world 2024? Top 11 wealthiest writers - Stephen King net worth

Oasis Support Murrayfield 2025: Here are 13 bands who could support Oasis at their Edinburgh gigs

• Environment
• Rugby Union
• Other Sport
• Sport Opinion
• Film and TV
• Theatre and Stage
• Edinburgh Festivals
• Scran Podcast
• Advertise My Business
• Place Announcement
• Place A Public Notice
• Advertise A Job

Ingrained: The Making of a Craftsman by Callum Robinson review: 'Humorous and heartfelt'

Ingrained begins with a visit to a hidden sawmill in northern Scotland - a secret place filled with possibilities, where treasures are waiting to be uncovered and passions are soon to be reignited. It’s a scene that will resonate with any woodworker who loves digging about in dark sheds and dusty barns hunting for the perfect piece of wood. But you don’t need to know anything about furniture making to find yourself immersed in this world.

Within a few short sentences you are right there amidst the stacks of wood with author Callum Robinson, his father, and the wise old sawyer who communicates in grunts, odd looks and never-ending roll-ups. You find yourself lost amongst the stacks of drying timber as the search for the perfect board takes over.

Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers

Thank you for signing up.

Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more.

Advertisement

latest in Entertainment

Taylor Russell dazzles at Venice Film Festival in vintage Chanel...

Jax Taylor hit with Brittany Cartwright divorce papers while...

Taylor Swift fans are convinced her cat made its debut on Travis...

Fans think Camila Cabello shaded Sabrina Carpenter amid...

Tori Spelling admits she’s ‘so lazy’ that she dresses son...

Shannon Beador spotted back behind the wheel – with a...

Brittany Mahomes is 'obsessed' with this stylish Chiefs gear —...

Joey Lawrence's co-star Melina Alves denies affair, claims they...

Legendary nyc artist patti smith among those fighting to save public garden she describes as creative refuge.

A public garden that’s set to be demolished has played a part in creative life of one of New York City’s greatest living artists, she tells us.

Patti Smith is one of several bold-face names campaigning to save the Elizabeth Street Gardens in Little Italy.

And the musician, author and poet tells Page Six that the spot — which is set to be destroyed to make way for affordable housing for the elderly — has been a creative refuge for her, as well as thousands of others city dwellers.

She even said that she’s worked on a new book about her life while sitting in the Downtown oasis.

“I’ve written poems there. I like to sit and think. It’s a good place just to think and contemplate,” the author of books including “Just Kids” and “M Train” told us, adding, “I’m working on a book. It’s a work in progress and when I was in the garden I was writing about my mother.”

“When we do performances there, it’s not like raucous atmosphere — it’s a very light-hearted, benevolent atmosphere were people are listening,” Smith said, “Sometimes I’ve improvised poetry with my daughter in the garden. It’s inspiring. But it’s also calming. Sometimes I might want to go to the garden not to work, but to exist — just to feel blessed by my surroundings.”

Robert De Niro and Martin Scorcese have also lent their weight to the cause. Along with Smith, the three cultural icons have penned letters to Mayor Eric Adams , asking him to step in to save the garden.

The site was first developed as a garden by Allan Reiver in the early 1990s. A developer now plans to build affordable housing on the space. Demolition is due to begin in a matter of weeks, and the garden could be closed as soon as September 10.

“I’ve lived in the city off-and-on for over half a century, and these type of areas are fast diminishing,” she said. “And they’re worth fighting for.”

Her daughter, Jesse Paris Smith, is working nearly full-time on the campaign to save the garden.

“It’s more than a garden,” Patti said, “It’s really like a work of art. It’s like an art installation merging sculpture and nature and community — all three things in one place.”

The “Gloria” singer acknowledged that affordable housing for the elderly is, of course, important, and she noted that at 77 years old, she’s naturally sensitive to the needs of older citizens.

But she said that the city is full of empty office and retail space, and that its seems likely that a beloved garden isn’t the only viable spot for the new homes.

“And it must be said that many of the people who are concerned about losing the garden are the elderly,” Patti said, “There are many elderly people who have said they’d forfeit the right to live in any new housing, if we would only save the garden.”

Advertisement