Books like Sentences and Paragraphs — picked by fans

This one didn’t change my life, but it did provide me with a no-nonsense guide to pesky things like conjunctions and clauses, superlatives and synonyms, prepositions and pronouns, and, obviously, alliteration. Ha. 

What I liked most about this book is that it isn’t written like a textbook. I read what is widely considered to be the writer's bible, The Elements of Style by William Struck and E.B. White, and considered giving up on my dream of becoming a writer because the book made me feel as if only someone with an Einstein-like intellect could write. 

But, as Mr. King wrote, the story is what matters; everything else is just dressing. But in saying that, being able to string together sentences helps (I think my jokes are funny, but no one else does), and this book gives a simple explanation of how to make your copy sing.

It’s one thing to advocate for simple, clear writing—and another to do it consistently. For the most inspiring demonstration of these principles look to Ernest Hemingway. Read even one of his short stories, or any of his novels or reportage, for in-action proof of how convincing we can be by using the most basic English: short everyday words derived from English’s early Anglo-Saxon history, and unadorned, straightforward sentences. Note how the most profound ideas, emotions, and subtle interactions can be communicated with spare language, nearly absent of descriptive words. How to generate this kind of impact with the writing most of us do every day is a central goal of my own book. TIP: a helpful online resource for simplifying copy is found at…Hemingway.com. 

Why do I recommend a book on speechwriting? For the same reasons my book covers spoken communication. Good speeches base on the written word and in turn, yield many lessons for all writers. For example, “sayability” is a hallmark of writing that works, and a good way to check yourself. Noonan’s book also reminds us of what matters most: Deciding what you want to say—the substance. Fancy language never camouflages empty thought. Rather than trying to manipulate people, reach them with sincerity and specific language that’s “simple, unadorned, direct, declarative.” Noonan recommends appealing to the brain with logic. Psychologists, meanwhile, stress that we make most decisions based on emotion—but I think both are right: Persuasive writing reaches both heart and mind. 

Warren Buffet, the famous investor, is also revered as a master communicator. His annual Letters to Berkshire Hathaway Shareholders are models of clear, transparent writing. They are the best showcases I know for the impact of presenting difficult material in “plain English.” Buffet makes financial information accessible and even interesting to the layperson with an unassuming colloquial tone, humor, anecdotes, and language based on the concrete short words of natural speech. He always delivers substance, even acknowledging his own poor decisions.

The enviable result: he generates trust, the critical ingredient of persuasion. I love introducing students to Buffet’s writing and seeing them analyze what works so well. The letters are available online, but this book usefully collects them along with other Buffet writings and commentary.

It was Hemingway’s Boat, with its discursive Shandean style, that set the tone for my book. It was the only way I knew to tell a story that was so uniquely decentralized, so rollickingly exploratory, but I couldn’t begin to rival Paul Hendrickson, who remains the master of the tangential truth, digging deeper into the soul of the man than any Hemingway biography I have ever read – by focusing on his boat. At one point in my Phillips biography, after wandering off-course for 60 pages and finally coming back to the narrative moment I had abandoned, I wrote, “For all of my faith in extended digression I hope I haven’t stretched the limits of reader patience too much by now. Let me just pick up the thread.” But this is nothing compared to Paul Hendrickson’s masterful command of seemingly structureless story-telling, the non-fiction equivalent of some of Alice… show more.

I knew very little about Ernest Hemingway before I read the book, so didn’t approach it as a fan of him wanting to know more.

The book came highly recommended, and I was intrigued by the women that surrounded this controversial figure. Mrs Hemingway covers parts of the lives of each of his four wives, each so differently and wonderfully told. We see Hadley, Fife, Martha, and Mary in relation to Hemingway, but there’s no doubt that this novel is all about them, their thoughts and emotions. It’s brilliantly written and masterfully conveys a sense of the time period too.

I love this book because it forced me to take sharp notice of Hemingway.

No, it wasn’t the big novels, the ones that had become best-sellers; they were everywhere. But when this book fell into my lap, it made me want to dig right into him. It’s his earliest collection of stories, and though Hemingway said once that they were interconnected, critics then and now disagree.

I think they’re great because they show the early manifestations of what he coined “the iceberg theory” of good writing—writing that forced me, one day, standing in a bookstore, reading the last few pages of A Farewell to Arms, twenty years or so after reading the book for the first time, to fairly nearly weep.

Philip Greene is probably the world’s greatest living cocktail historian (how cool is that?). I am personally grateful to him for correcting and guiding my own work. Greene has written several excellent cocktail books. In To Have and Have Another, he canvases Hemingway’s personal preferences as well as the drinks featured in his writings. I hope that Greene one day does something similar with Evelyn Waugh and his novels, though it may fill several volumes.

This groundbreaking anthology helped define flash fiction for American readers.

With contributions from the greats—Ernest Hemingway, Joyce Carol Oates, Grace Paley, Raymond Carver, Tobias Woolf, and more—these tiny narratives often pack the emotional force of a full novel.

A perfect introduction to what flash fiction can achieve when it delivers the whole arc—character, conflict, resolution—in a breath.

As Cyril Connolly himself writes, "What follows are the doubts and reflections of a year, a word-cycle in three or four rhythms; art, love, nature and religion: an experiment in self dismantling..." This fragmentary method of writing, with quotes, aphorisms, epigrams, allusions, from a litany of great writers, thinkers, and diarists, with sudden reflections on love, the loss of love, spirituality, desire, literature, art, and psychology are the collected musings of Cyril Connolly, first published in 1944 in Horizon, the magazine he was founder and editor for.  My favourite parts of his writing are the plentiful poetic depictions of the scene, usually with the aid of perspicacious and evocative lists, revealing the interior life of the poetic author: "Dead leaves, coffee grounds, grenadine, tabac Maryland, mental expectation - perfumes of the Nord-Sud; autumn arrival at Pigalle..." 

This book is a literary sketch or prayer book, overflowing with ideas and… show more.