100 Books Like On Writing Well

This book was like a trusted mentor in book form, helping me craft content that’s clear, engaging, and downright effective. Ann strips away the boring writing advice everyone seems to give and delivers practical advice (which aligns with my own copywriting philosophy) with warmth and wit. It’s not just about grammar or structure—it’s about connecting with your audience in a way that feels authentic.

What I loved most is how versatile this book is. Whether I’m writing blog posts, website copy, or emails, I’m always using something Ann taught me. Her book is packed with actionable tips and relatable examples, and her conversational tone made it a joy to read. This is another book in my toolkit that I flick through whenever I need inspiration.

Why is it that looking at the past, reading our history, studying ancient ruins, makes me feel better about facing today’s world?

I think about connection, a feeling that, despite having lived hundreds or thousands of years ago, there are still shared goals and commonalities between myself and them. 

Harari is one of those rare authors who can distill enormous amounts of information into a single sentence and hold your attention at the same time. Early in the book, Harari explains that as humans evolved to walk upright, the narrowing of the pelvis and hips made childbirth more treacherous. His line for this: “Women paid extra.” As a mother myself, when I read that line, it felt so modern, so lived-in, like the same line could describe my own feelings today.

Books like Sapiens aren’t really about the biology of humans, but about finding our humanity within a scientific exploration.… show more.

What I love most about Bird by Bird is the way that Anne Lamott characterises writing as a gift, a giving over to someone else in a manner akin only to being a parent.

While I am not a parent, I am inspired by this idea that the written word can make a person braver and better by virtue of opening them up to the world and people in new ways. Despite the hurdles and difficulties of the practice, which Lamott deftly outlines, she ultimately decides that a writer is pursuing an act of generosity and openness. I really love this idea.

There is a real lack of pretentiousness to Lamott’s writing, which allows you to take these nuggets and accept what otherwise might be sentimental claims that “writing is life” as simple truths. 

Entire industries exist to manipulate us based on characteristics of human psychology that nature has programmed into us. An important part of knowing ourselves is to know these characteristics and understand how to use them for our benefit, instead of the benefit of those who would use our human nature against us.

Covey is internationally acclaimed for The Seven Habits of Highly Effective People. However, I have a penchant for his also famous First Things First, a gem with visceral concepts that stick like honey in the brain. 

For example, the brilliance behind “Quad Two”—shorthand for items and to-dos that are important yet not urgent. Because they are not pressing, the things (and people) that matter most often get waylaid—propelling us into a life missing our passions and aspirations. Only cropping back up when they do become urgent—such as neglecting health until we can’t fully function.

And who can proceed in life unchanged following his introduction of the “Big Rocks” concept. I won’t do a spoiler alert. Let’s just say it merges prioritization with a singletasked focus.

Finally, I’m a sucker for the thoughtful worksheets nestled throughout First Things First.

This book is one of the most effective guides to meaningful, lasting change.

James Clear explains how transformation happens through small adjustments practiced consistently over time. His philosophy aligns with a core belief in my own life and work: growth is created by what you do daily, not occasionally.

Clear breaks down the power of systems, discipline, and identity-based habit building. The book proves that success is rarely about dramatic breakthroughs. It is the result of steady, intentional actions that accumulate into extraordinary impact.

Mastering the next right step is the foundation of personal and professional excellence.

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!

What I like about Orwell is that he is uncompromising. His fiction, such as Animal Farm and 1984, is very well known, but some of his essays have been just as influential.

This is probably the most important one, in which Orwell makes a case for clarity and concision as the guiding principles of communication. Language is both cause and effect of meaning: it "becomes ugly and inaccurate because our thoughts are foolish, but the slovenliness of our language makes it easier to have foolish thoughts."

Good writing, Orwell suggests, helps us retain freshness of thought; bad writing, conversely, deadens our sensibilities. Linguistic precision, in other words, is "not the exclusive concern of professional writers." We should all be concerned by cliché.

Thomas captured the beauty and mystery of nature and science—how billions of cells in our body work intricately together to form tissues and organs that make us breathe, move, see, think, and fight infections, and how the world itself is analogous to one big cell.

I was amazed to understand the extraordinary complexities of Nature—how ants plan, communicate, and build farms, how our noses smell, how our eyes see and communicate to our brains, and how we hear and appreciate music.

Yes, it says for writers, but this book is a great resource for in-person storytelling. On these pages are thousands of ideas on how you can show, not tell.

Comb through ideas on how to express a character’s emotion with posture, tone, and mannerisms. Don’t just say, “he looked guilty.” Look up “guilt” and find ways to indicate guilt without telling people what to think. Have your guilty character “avert her eyes,” “shift her feet,” “pull at her collar,” or “suddenly lose her appetite.” I regularly flick through this book to train my imagination on the sensory cues that make a story come alive.