100 Books Like Farnsworth's Classical English Rhetoric

I am a passionate learner; passionate, not for knowledge, but for what Anders Ericsson calls “know-how.” I love to learn how to do things– especially writing craft techniques. These fascinate me because every technique and every skill I practice and master makes me better at the real work of writing: communication. In many of today’s writing workshops, aspiring writers are told to focus on themselves and their feelings. This is idiotic: expert writing is not about you; it’s about making things happen in other people—in their intellects and imaginations, in their hearts, even in their bodies. To make that happen, you need skills, skills anyone can learn through dedicated practice.

I am a passionate learner; passionate, not for knowledge, but for what Anders Ericsson calls “know-how.” I love to learn how to do things– especially writing craft techniques. These fascinate me because every technique and every skill I practice and master makes me better at the real work of writing: communication. In many of today’s writing workshops, aspiring writers are told to focus on themselves and their feelings. This is idiotic: expert writing is not about you; it’s about making things happen in other people—in their intellects and imaginations, in their hearts, even in their bodies. To make that happen, you need skills, skills anyone can learn through dedicated practice.

I am a passionate learner; passionate, not for knowledge, but for what Anders Ericsson calls “know-how.” I love to learn how to do things– especially writing craft techniques. These fascinate me because every technique and every skill I practice and master makes me better at the real work of writing: communication. In many of today’s writing workshops, aspiring writers are told to focus on themselves and their feelings. This is idiotic: expert writing is not about you; it’s about making things happen in other people—in their intellects and imaginations, in their hearts, even in their bodies. To make that happen, you need skills, skills anyone can learn through dedicated practice.

I am a passionate learner; passionate, not for knowledge, but for what Anders Ericsson calls “know-how.” I love to learn how to do things– especially writing craft techniques. These fascinate me because every technique and every skill I practice and master makes me better at the real work of writing: communication. In many of today’s writing workshops, aspiring writers are told to focus on themselves and their feelings. This is idiotic: expert writing is not about you; it’s about making things happen in other people—in their intellects and imaginations, in their hearts, even in their bodies. To make that happen, you need skills, skills anyone can learn through dedicated practice.

I’ve been working with words for over 25 years, as a writer and editor in publishing houses, design studios, and now as a freelance. I help everyone from big brands and small businesses through to academics and consultants get their ideas out of their heads and on to the page. I was an original co-founder of ProCopywriters, the UK alliance for commercial writers. I’ve written and self-published four books, the most recent of which is How to Write Clearly. The books I’ve chosen all helped me to write as clearly as I can—not least when writing about writing itself. I hope they help you too! 

Denise Kiernan is a multiple New York Times bestselling author of narrative nonfiction books including The Girls Of Atomic City, The Last Castle, and We Gather Together. With more than 25 years of experience writing newspaper and magazine articles, books, and more, Kiernan also travels the country speaking at schools, universities, corporations, and more about her work and about the writing process. She created and hosts the series CRAFT: Authors in Conversation, during which she dives into the psyches, habits, and hopes of writers from all walks. For the series, she has interviewed bestselling authors, award-winning journalists, television writers, and Academy Award winners about how they do what they do, and what writing means to them.

I’m a journalist and critic who fell in love with the ancient art of rhetoric through Shakespeare, Chaucer… and Barack Obama. It was when I watched Obama’s consciously and artfully classical oratory as he campaigned for the 2008 election that my undergraduate interest in tricolons, epistrophe, aposiopesis and all that jazz surged back to the front of my mind. I went on to write a 2011 book arguing that not only is this neglected area of study fascinating, but it is the most important tool imaginable to understand politics, language, and human nature itself. Where there is language, there is rhetoric.  

I taught writing and copywriting at Columbus College of Art & Design in Ohio for thirty-seven years (retiring as an ancient-but-somehow-still-living fossil in 2014). I taught all our majors, but most of my copywriting students were advertising and design majors. During those decades I wrote nonfiction for newspapers and magazines and copy as a freelancer for ad agencies and design studios. My copywriting book emerged from my experiences in and out of the classroom. I hope I’ve given good advice on advertising: how to think about it and how to write it. But you’ll be the judge.

As a person who reads solely for pleasure regardless of research, I make it a mission while writing to read books I actually enjoy on topics I wanna learn more about. I chose the books on this list because I’m also a person who reads multiple books at once in various genres, it keeps me honest; aware of holes and discrepancies in my own work and pushes me towards some semblance of completion. All the writers on this list do multiple things at once and I admire their skill and risk in coupling creativity with clarity.

I am a graduate of Williams College and Princeton University and now a professor and former dean of arts and letters at the University of Notre Dame. As dean, I learned that too many of Notre Dame’s students were majoring in business. Invariably, when I asked them about their rationale, they would confess that their favorite courses were in the arts and sciences. They might have followed their passions, I thought, if they and their parents had a deeper sense of the value of a liberal arts education, so I wrote this book to answer their questions and give them justified confidence in the value of liberal arts courses.