100 Books Like It Would Be So Nice If You Weren't Here

I loved the voice of this book–it’s the voice of Stephen King, clever, yes, and a brilliant novelist, of course, but also absolutely down-to-earth. King is a perfectionist, continually going back through his writing to hone it–a useful reminder to all of us not to be satisfied with a first or second draft.

The book shows how, in the best writing, both dialogue and plot arise out of character. And I particularly valued his emphasis on cutting, cutting, cutting–dialogue and everything else. He’s made me do that more than ever!

This book coined the maxim far and away the most quoted in Hollywood to this day: “Nobody knows anything.” I first read it the year before I broke in. My copy is heavily annotated with yellow highlighter and red pen; a black paperclip still marks the second of Goldman’s two capitalized maxims, “Screenplays are structure.” The value of this book to anyone wanting to understand – or survive in – Hollywood is that, ironically, Goldman, one of the most successful screenwriters and novelists in Hollywood history, knew almost everything, not only about screenwriting, but also the psychology, cautious care, and perilous feeding of actors, directors, executives, and the rest of the Hollywood zoo. It’s both a textbook and survival guide, illustrated with a veteran’s vivid stories about life behind the tinsel.

To be honest, I sort of threw a dart at Lawrence Block’s books on writing and hit this one. You’d benefit from the others just as much (Write for YourLif Life, Telling Lies for Fun & Profit, The Liar’s Bible). 

Or read any of his fiction. I started down the Block path with his Matthew Scudder series, but it’s his “Burglar” books that had the greatest influence on my Eli Marks mystery series. But don’t overlook his darkly funny Keller series, about a hitman with a heart (and a love of stamp collecting). And, if you’re into audiobooks, grab any of his books that Block narrates himself. He’s pretty good at it!

Why this book? Two words: Aaron Sorkin. This book collects six of his teleplays, but I think you could get just as much by watching the first four seasons of “The West Wing.” Osmosis, do your thing!

Dialogue, character development, how to get into a scene, how to get out of a scene, juxtaposition … it’s all there, and more in Sorkin’s writing. This book contains some of my favorite episodes (although it doesn’t have my favorite, “Noel”), and some of his best speeches. In particular, Bartlett’s rant in “Two Cathedrals” and Toby’s frustration in “17 People” (“I will bet you all the money in my pockets against all the money in your pockets…”) Sorkin’s mantra (intention and obstacle) is probably the shortest and best advice you can get about how to keep characters alive in a scene. Read this book (and watch the show) to see that mantra… show more.

Full disclosure, Darcie was a producer on Legally Blonde and was president of MGM On Stage. Darcie was a real character, and she also dripped with worship for the theater.

This book is a meticulously researched love letter to the fusion of film and theater, filled with phenomenal photos and teeming with love. Chronicling West Side Story, Gypsy, Chicago, and beyond, it’s a great coffee table book you’ll actually want to read.

Audrey filmed seven movies in Paris, three of which were directed by the multi-talented Stanley Donen. When they first worked on Funny Face, Audrey was twenty-seven, and Donen was thirty-two.

Their five-year age gap allowed for an ease between the two colleagues, which would manifest into a friendship spanning over 30 years. In fact, Audrey wrote a touching introduction to Dancing on the Ceiling. Silverman wonderfully chronicles Donen’s life in films during the golden age of Hollywood at a time when movie musicals were still box office hits. Best of all, the book covers all three of Audrey and Donen’s collaborations: Funny Face, Charade, and Two for the Road.  

There are quite a few books out there on movie musicals, many of them full of holes and poorly researched.

Griffin’s is one of the most comprehensive, focusing not just on the famous MGM musicals like Singin’ in the Rain that get the most attention these days, but also on the lesser-known musicals that were hugely popular in their time. In this book you’ll learn about largely forgotten stars like Alice Faye and Jane Powell, and see how they fit into the history of the genre.

Griffith closely examines the whole history of movie musicals from the earliest days of sound film up to the present, without the value judgments that often obscure the history.

Film historian and professor Jeanine Basinger covers the entire history of the movie musical with scholarship, laugh-out loud asides, and a love of film that shines through on every page. No one knows more about film than Basinger but she wears her knowledge lightly, inviting the reader to join in the fun.

Gone Girl started the domestic suspense trend and showed us that suspense can be driven by family/household dynamics. Louise Candlish takes this to another level in Our House when the main character comes home to find another family moving into her house. She soon discovers that her husband has sold the house from under her feet and disappeared. This is a fantastic, slow-burn literary thriller with a great ending.

When I first read this years ago, it struck me as one of the great books about directing—Steven Spielberg’s ingenuity is a major focus. Revisiting it today, I realize it’s equally valuable as a screenwriting resource because serving a director’s vision is a huge part of the screenwriting life.

As Gottlieb recounts, making Jaws wasn’t stressful just because the mechanical shark kept malfunctioning but because of the pressure Spielberg was under to transform a pulpy bestseller into a crowd-pleasing spectacle. Gottlieb, the third writer to work on the project, offers his unique perspective on the all-too-common scenario of starting a production without a finished script.

Every time I return to this book, I discover another insight about screenwriting, about filmmaking, and about creativity.