100 Books Like Zeroville

This book filled me with pure wonder. The futuristic setting felt like a glimpse into a world we’re on the brink of creating, where technology can be both a refuge and a battlefield. I loved the way it combined a digital universe with a gritty, imperfect reality—it made me think about how much potential the future holds, both thrilling and terrifying.

The sense of exploration and possibility was so vivid that I found myself daydreaming about what could be long after I turned the last page. It’s a story that reminds me how powerful imagination can be. The characters aren’t perfect, which made them feel real, and I was hooked by the idea of ordinary kids taking on extraordinary challenges. This one made me feel like anything was possible in the future.

This book features a child psychologist who is our unreliable narrator, and we are straight into her life with no introduction. We are in her head from the outset, witness to all her internal dialogue, her drunken episodes, and the minutiae of her claustrophobic lifestyle; her only entertainment spying on her neighbors as she now  lives apart from her husband and child for unknown reasons.

The narrowness of her agoraphobic life is well depicted, and I was keen to discover what events had led her from a successful career and happy family to this depressed and depressing way of life.

If you love books that tie themselves to movie genre tropes, you’ll not only love my novel, but also this one by Riley Sager, his first novel that launched a huge career and made him a household name.

Set around Quincy, a young woman who survives a horrible massacre in which all her friends are killed, she becomes what’s known in horror movies as Final Girl meaning she’s the only one who made it out alive. Linked to 2 other Final Girls by the media, Quincy leads a pretty normal life until someone starts killing Final Girls.

A fun read that’s inspired countless knockoffs that would make a killer movie. 

A sci-fi space opera that’s told like a documentary film.

This was the first book (but certainly not the last) that ever made me jealous I didn’t write, and inspired countless hours of me trying to duplicate.

Set in an alternate 1986 where silent films still reign and using various forms (reality tv, movie, celebrity rags, audio transcripts) this is a genre-bending collective gorgeously told and seriously underread. 

Ted Sennett is one of the most prolific and widely-read writers about Hollywood and this book on 1939 is one of his very best works. It is filled (one might even say, stuffed) with behind-the-scenes stories. The writing is sometimes critical and analytical rather than gushing as in some of Sennett's many coffee table books. He concentrates on only seventeen 1939 movies so one doesn't get a full picture of that amazing year of movies. It's good to see some lesser-known classics like Midnight and Angels Have Wings included in the seventeen.

Another book focusing on the medium of film, but again the lessons to be learned about good storytelling are universal. Alexander ‘Sandy’ Mackendrick directed such classic Ealing comedies as The Man in the White Suit and The Ladykillers, also the Hollywood masterpiece, Sweet Smell of Success. After retiring from filmmaking in 1969, he spent nearly 25 years as a professor at CalArts in Los Angeles where he helped students to write better stories and communicate them effectively through the craft of filmmaking.

This book is compiled from Mackendrick's legacy of masterly handouts and lectures. One section I found incredibly insightful is his comparison of two versions of a key scene from the script of Sweet Smell of Success (initially written by Ernest Lehman and subsequently rewritten by Clifford Odets), seeing how increased tension between the characters is achieved.

Only a small fraction of the millions of Americans in uniform during World War II were engaged in combat operations. Harris’s well-researched account zeroes in on the service of five Hollywood directors, who, like many other professionals, were asked to adapt their civilian skills to wartime needs.

Tacking back and forth between Washington and other stateside locales and posts far afield—from Midway and the Aleutian Islands to North Africa and Italy—the book’s carefully drawn action conveys the far-flung exploits of filmmakers during the war as well as how those experiences impacted their craft.

I stumbled across this beautiful non-fiction hardback while I was searching for books that would immerse me fully into Honey Black’s world, when I first started writing my novel.

This is an excellent book recounting the scandals of Old Hollywood – Clark Gable and Errol Flynn included – complete with an impressive amount of authentic photographs that bring every story to bright, technicolour life. A lot of the scandals referred to in my novel were discovered through reading this book!

Because this book concentrates on only six 1939 movies – Gone with the Wind, The Wizard of Oz, Mr. Smith Goes to Washington, Stagecoach, The Hound of the Baskervilles, and The Adventures of Huckleberry Finn – Adams is able to go into much more detail about the making of each film and the critical reaction each received. I'd be hard-pressed to pick only six movies from that eventful year and movie fans will disagree with Vieira's choices somewhere down the line. But once you get past that, this book is filled with important information and plenty of trivial details that it is a great read.

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.