100 Books Like Story Engineering

Katie Weiland’s book is a must-have if you want to write that great novel. Plotting is all about structure, and even if you don’t like to plot in advance, at some point, you will have to get that plot in hand. I appreciate the way Weiland goes through each important plot point, showing where each one needs to be in a story and what it accomplishes.

I also love that she has a workbook to go with this book to help writers dig deep into their ideas and flesh them out. And you’ll not want to skip over the part where she warns against disaster!

You may be wondering why I’ve listed this 20-year-old book as my top recommendation if you want to write a terrific commercial novel. This was my go-to “bible” when I penned my first few novels. I religiously followed all her advice, as I was and still am an avid fan of her Inspector Lynley detective novels.

Listen: you don’t have to be a crime or thriller writer to learn the best skills for writing a best seller from this book. She shares personal routines and techniques, an overview of the craft, and covers the plot, characters, and scene structure. It’s not extensive but will give any fiction writer new eyes and skills in the art of writing.

I can’t count the number of times I have quoted from or recommended this book to my editing clients. Scenes are the components of novels, and I’ve always emphasized mastering scene structure as the key to success. It truly is! If you don’t get what makes a scene, you will have a novel fail, plain and simple!

I love Jordan’s definition of a scene: “Scenes are capsules in which compelling characters undertake significant actions in a vivid and memorable way that allows the events to feel as though they are happening in real-time.” Too often, scenes sag, are boring, don’t accomplish much, or wander. Jordan’s book will help you hone your craft so you can write terrifically structured novels.

One of the most important elements, to me, in a novel is emotionality. Regardless of genre, a great commercial novel in any genre needs to trigger emotion in readers. But it’s very hard to do and do well. Maass’s book is so unique. I love his objective to burrow deep under the surface of the plot, characters, and structure to get to the heart of any story.

If you want to write a great book, you have to engage readers’ emotions—it’s that simple. He explores the inner and outer landscapes of emotion, the emotional world of your story (great for short stories, too), and the important “writer’s emotional state.” Yes, you need to know what your emotions are when you’re writing. And what you want your reader to feel at any given moment. Maass’s book is the only book that will teach you these needed skills.

This is not even a motherhood-focused book, but it absolutely had to make this list. It completely transformed my motherhood journey. It helped me find my new identity in motherhood. It allowed me to recognize that I have stories to tell - about my experience as a mother and also about myself separate from motherhood.

It allowed me to take life a little slower and be more intentional and mindful in my living and parenting. It’s essentially what moved me to start writing my poetry book in the first place. It helped illuminate my life in a way I never noticed before. I am a better mother because of this book. 

Stephen King’s memoir, On Writing, is brutally honest, deftly observant, and at times frighteningly visceral.

The skill with which he brings a bad ear appointment or the eating of too many eggs to life is a reminder to me that to be a writer doesn’t mean to live as a celebrity. It means to take the mundane pieces of an ordinary life and invest them with purpose and excitement.

I thoroughly enjoyed this book because it allowed me to look at my life, at my weird relationship with eggs, and my tendency to sing out loud in shopping malls, as the very essence of my next story.

Equally compelling were the snippets of writing advice layered into King’s story, another reminder that advice, as well as inspiration, can be found just about anywhere. 

I found Suber’s book eye-opening about film. His insight into the true meaning of films was enlightening. I liked the way he examined film, sometimes minute by minute, to reveal their true meaning. He reminded me of the true influence that films have on society and society’s influence on film.

His writing was clear and concise, and he inspired me to add more depth to my own writing. 

This book is different. After a slew of books all pedaling the same material based on the dreaded Hollywood formula, it was really good to find something that bucked the trend. 

Truby focuses on morality in stories. He maintains that every story is actually a moral argument, and gives his practical steps for harnessing that morality and using it to create a strong story. 

I feel there is a lot to be said for this. The only real flaw is that there are actually twelve sensible bases for a story and although the moral argument is undeniably one of those that generates a strong story, it is important for writers to understand all of them.

Matthew is a serial public speaking champion who basically should be entered in The Moth Hall of Fame asap. If you've never heard Matthew Dicks talk, pause this and go watch his videos online. He's that good. What I love about his book is that he shares how he crafts his own stories and shares some amazing tips on how to capture everyday events that can later on be turned into powerful stories. Although this book isn't so much geared towards business or work, I think everyone can learn a great deal from Matthew's impressive experience of making people pay attention and connect to what you say (both as a best-selling novelist, school teacher, and public speaking champion).

As the title suggests, Williams’ book focuses on identifying the Moral Premise at the heart of your story idea and building around it. It’s a very thematic approach to storytelling. This Moral Premise essentially breaks the story into four components: a positive “virtue”, a negative “vice”, desirable consequences (success), and undesirable consequences (defeat). You can use this to create a simple structure of “Vice leads to undesirable consequences (defeat), while Virtue leads to desirable consequences (success)”. I'm admittedly oversimplifying it, but it's a great tactic to get to the heart of your story's theme and strengthen your narrative.