Books like Writing With Power

The work of Anders Ericsson changed my life. In this book, he describes his research into how certain people become really good at what they do. They all use one particular approach to achieving excellence. First, through a teacher, they learn the specific skills they need for their chosen activity. Then, they devote large amounts of time to practicing each skill to the point of mastery. Finally, with more practice, they learn to put all the skills together.

This way of learning is familiar to anyone who’s played a sport or a musical instrument. But it had never been applied to writing. Inspired by Ericsson’s work, that’s what I did, first with my own writing, then in classes I taught, and finally in my book listed above.

Had this book not been written, I would probably never have learned about Professor K. Anders Ericsson and his research; my own work—even my life—would have been much poorer. Colvin’s book (appearing years before Peak) was the first to introduce Ericsson to a wide audience. Although many similar books followed, in my mind, this is the best. It’s extremely well-researched and written, full of lively anecdotes and fascinating information about how “world-class performers” get to that level.

I especially enjoyed Colvin’s story of how Benjamin Franklin trained himself to become a better writer by imitating the work of the best stylists of his day. Imitation of experts, as Anders Ericsson later discovered, turns out to be a key technique for gaining expertise in any activity.

My debt to this book is huge, and my gratitude to Professor Tufte is boundless. From this book, I learned much of what I now know about the possibilities of the English sentence. Appositives, nominative absolutes, left- and right-branching sentences, inversions: These techniques and many more became a regular part of my writing practice. I delighted in exploring them and seeing what they could do for my writing.

Eventually, I became familiar enough with them to be able to pass them on–through practices I invented and taught my students. Undergrads, graduate students, working adults, aspiring creative writers: they all benefited. Eventually, these same techniques and practices took book form in my book above.

“Classical English rhetoric”? When I first discovered this book years ago, I had no idea what those words meant. But when I opened the book to browse, I found a treasure of techniques for writing powerful sentences. Many of these techniques are based on a fundamental idea of repetition; once I started practicing them, I couldn’t stop because they were so much fun! I learned to ignore their off-putting Latin names and concentrate on using them.

So many people have been told by classroom teachers that they should never repeat a word or phrase. However, repetition is a highly effective way of emphasizing something. We do that all the time in ordinary speech. With this book, I learned several dozen ways to create emphasis in writing, too.

Now in its tenth edition, this book is for committed writers only. A highly valuable textbook on the writing process, Burroway covers story form, plot, structure, building character, place, and setting, and takes a detailed look at point of view. Each section comes with examples of how things do and do not work, as well as providing a list of suggested readings and writing prompts for further study. This book is a master class in creative writing that also calls on us to renew our love of storytelling and to celebrate the skill of writing well.

Writers often struggle to think of themselves as “writers” because the world has us believing that we can only carry that title if we are successfully published, and of course words such as “success” and even “published” can be fraught with subjective controversy. One of the lessons I learned from Brenda Ueland, among other great thinkers, is that we need to focus first on our own authenticity and only much, much later dare we think about what the world might have to say. This allowed me to let go and move on and trust myself on my writing path. It wasn’t easy, but as emphasized in If You Want to Write, we will be all right if we believe in our inner richness.  

I first came across Georges Perec via his novels. Many (most) of these are experimental – a word that often puts me off – but their cleverness is additional to great writing and storytelling. One of his novels, for example – La Disparition (A Void) – is written entirely without the letter ‘e’ as, remarkably, is the English translation! Species of Spaces is a collection of non-fiction essays in which he encourages us to look, to observe what is around us, to become anthropologists of the everyday. What might we find? Yes, we lie on beds. But, as Perec observes, this is highly unusual as they’re one of the very few places where we adopt a horizontal posture, and the only general one (the others are things like operating tables, beaches, psychiatrists’ couches. Perec focuses on what he calls the ‘infra-ordinary’ (as opposed to extraordinary) and offers something remarkable… show more.

We’ve all got one of those life stories that we end up telling over and over again. Research has confirmed that those stories hold power. Meg Files in Writing What You Know offers us a path to transform those stories from the telling onto the page, and just maybe into the larger world. I credit Files’ workshops for helping me refine work that was later published. While you might notice that she draws on her teaching, conference creating, and publishing experience, she also writes with the voice of a supportive, nurturing friend. She reminds us not to be too self-critical, gives us the questions to get started, and challenges us with many opportunities to be “Jumping into the Abyss.”

An insight into China was gained through an analysis of the development of its written language. How was the modern “simplified” set of characters developed? In a country with many dialects, the story of how the Beijing dialect was chosen as standard is particularly interesting. We could all be speaking Cantonese if more Southerners had turned up to a meeting in 1916.

Without having to query Google that serves up writers in a single file, this book is a delightful repository of the entire “who’s who” of literature, particularly of little-known factoids, served up as a rich smorgasbord that you want to devour without end. It proves that “the pen is the tongue of the mind,” even though “writing is a dog’s life,” and is a comfort to writers to know that others, more famous than them, have skirted the edges of penury, fame, and madness. You will also laugh a lot, in relief, I think.