I've been telling stories forever. I've spent my creative and professional life writing scripts for network television, studios, and independent producers. I'm a Lifetime Writer's Guild member, which less than 10% of WGA writers achieve. Because I thrive on helping writers achieve their goals, I taught university-level screenwriting for nearly three decades. I know these books work because they've helped me and my students, some of whom are successful Hollywood writers and producers, partially due to the influence of these five amazing books, which continues to be felt through every corner of my website.
Dedicated to two essentials that make me jump up and salute: how to write by getting in touch with your unconscious and an amazing way to outline. That's all. Two ideas. But they're two of the most important concepts to master to become a writer who gets paid.
This book excites me because I know how much aspiring writers need it. From the year I first read it until I left university teaching, I required it in every writing class in my department. If, for decades I made students read it, you can bet I'm delighted for you to put it on your reading list.
This comprehensive guide to writing creative fiction collects the lectures of the Pulitzer Prize winning author, Robert Olen Butler, transcribed and edited by Janet Burroway, the author of the classic text on creative writing, "Writing Fiction". "From Where You Dream" reimagines the process of writing as emotional rather than intellectual, and tells writers how to achieve the dreamspace necessary for composing honest, inspired fiction. Proposing fiction as the exploration of the human condition with yearning as its compass, Butler reinterprets the traditional tools of the craft using the dynamics of desire. Butler offers invaluable insights into the nature of voice…
Julian Friedmann is co-owner of the Blake Friedmann Literary Agency and was the publisher of ScriptWriter magazine. At the agency, he has represented both book and scriptwriters for over 40 years and also acts as Executive Producer for and with clients. Julian is a TEDx speaker and is the author of the Make Money Screenwriting series, co-author of The Insider’s Guide to Writing for Television, and editor of two volumes on Writing Long-Running Television series.
He has taught at universities and film schools all over the world. He designed the MA in Television Scriptwriting at De Montfort University, and PILOTS (for developing long-running television series) for the EU MEDIA Programme.
A wonderful book that looks at the psychological bases for the development of sophisticated characters in screenplays. Don’t be afraid of writing complex characters: they are more effective in engaging the audience and this book will help you achieve that.
The Science of Writing Characters is a comprehensive handbook to help writers create compelling and psychologically-credible characters that come to life on the page. Drawing on the latest psychological theory and research, ranging from personality theory to evolutionary science, the book equips screenwriters and novelists with all the techniques they need to build complex, dimensional characters from the bottom up. Writers learn how to create rounded characters using the 'Big Five' dimensions of personality and then are shown how these personality traits shape action, relationships and dialogue.
Throughout The Science of Writing Characters, psychological theories and research are translated into…
Tiny Tales is a collection of 365 bite-sized stories and poems, written each day of 2023 to a one-word prompt created by one of the official #vss365 (very short story, 365 days a year) ambassadors on Twitter ("X").
Tweet-sized (280 characters or fewer) storytelling (aka "Twitterature") inspires experimentation and variety,…
I have been a reader and writer for most of my life. From the moment I could spell a handful of words, my mum encouraged me to write stories. With a few prompt terms, I’d be off. As a writer, I spend countless hours editing and refining my work because it makes me better and because I love it. My favourite part of a book is often a single, beautifully structured sentence. This passion has led me to wonder what other people have to say about writing and language. The more I hear about the practice of writing, the more I fall in love with it.
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.
Part memoir, part master class by one of the bestselling authors of all time, this superb volume is a revealing and practical view of the writer's craft, comprising the basic tools of the trade every writer must have. King's advice is grounded in his vivid memories from childhood through his emergence as a writer, from his struggling early career to his widely reported, near-fatal accident in 1999--and how the inextricable link between writing and living spurred his recovery. Brilliantly structured, friendly and inspiring, On Writing will empower and entertain everyone who reads it--fans, writers, and anyone who loves a great…
I’ve always been fascinated by people’s motives whether that be in real life or written on the page. That’s what drew me to write in the thriller genre to begin with because at the core, it's about finding out why people do things. But sometimes this genre portrays female characters as either innocent damsels or evil femme fatales, neither of which captures that women are a mix of good and bad like all other people. That’s why I try to write my female protagonists in my novels, short stories, and fictional podcasts, in a way that makes them conflicted humans and causes them to experience both downfalls and triumphs.
While The Swallows deals with an unsettling subject matter, Lutz tells the story with a light-hearted voice and bits of humor which made reading this book an enjoyable experience for me.
The novel follows the teachers and students at an elite boarding school where a secret club of male students subject the girls to an upsetting sexual contest.
Previous attempts to disband or expose this club in the school’s past have been unsuccessful which makes our two main characters, rebellious student, Gemma and creative writing teacher, Alex even more determined to stop the sexual harassment and coercion of female students.
Both Gemma and Alex make some mistakes and morally questionable choices in their pursuit of the truth but they show relentless grit and determination in the name of justice.
A blistering, timely tale of revenge from the bestselling author of The Passenger
GIRLS WILL BE GIRLS
What do you love? What do you hate? What do you want?
It starts with this simple writing prompt from Alex Witt to her students at Stonebridge Academy. When their answers raise disturbing questions of their own, Ms. Witt knows there's more going on at the school than anyone will admit. She finds the few girls who've started to question the school's `boys will be boys' attitude and incites a resistance that quickly becomes a movement. As the school's secrets begin to trickle…
I’ve been writing novels for more than three decades, and when I started out, I sucked. Truly! I had never even heard of structure. Really, it’s about getting to the heart of your story and reaching the heart of your reader. My first novels went nowhere. But once I dug into these very books (among many others), I learned how to write commercial best sellers. I’ve sold more than 250,000 copies of my self-published books. As a writing coach and copyeditor, I work with thousands of writers, and I have published about twelve writing craft books. I also teach online courses, which have been taken by more than 6,000 writers.
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.
Elizabeth George is one of the most successful writers of crime fiction in the world. Her twelve novels have appeared on bestseller lists in the UK, USA and Australia, and several of them have been dramatised by BBC Television as the Inspector Lynley Mysteries. She has also written a collection of short stories and edited a crime anthology.
Now she shares this wealth of experience with would-be novelists, and with crime fiction fans. Drawing extensively on her own work, and that of other bestselling writers including Stephen King, Harper Lee, Dennis Lehane and many others, she illustrates her points about…
One review of my books mentioned that I make heroes out of damaged people, so it’s natural I would read that kind of book. I love to see lost souls, losers, battlers for justice, and the underdogs rise above all the elements that hold them down. I think most people root for the underdogs, whether in life, in sports, or the weaker in any competition. It’s in our nature to do so. I’m a wife, mother, writer, former commercial artist, former store owner, former importer, which makes me ripe to be something new. But I think I’m done. I’ve shot my wad, done my best at whatever, and it’s always been fun.
Traumatized at the age of eight, causing him to be mute for ten years, Michael has a talent. He can pick any lock, no matter how complicated, and that includes safes. You can see where I’m going with this, right? It doesn’t take long to find out where that questionable talent leads him, because he’s just been released from a ten-year stint in prison. Michael is a heartbreaking character who is unwittingly led down the wrong path. The author unfolds the story through Michael’s narrative, slipping back and forth in time to explain how he got where he is, culminating in the tragic moment that sent Michael into his world of silence. The story is original and creative in character delineation and suspense.
Steve Hamilton steps away from his Edgar Award-winning Alex McKnight series to introduce a unique new character, unlike anyone you've ever seen in the world of crime fiction.
"I was the Miracle Boy, once upon a time. Later on, the Milford Mute. The Golden Boy. The Young Ghost. The Kid. The Boxman. The Lock Artist. That was all me.
But you can call me Mike."
Marked by tragedy, traumatized at the age of eight, Michael, now eighteen, is no ordinary young man. Besides not uttering a single word in ten years, he discovers the one thing he can somehow do…
Creativity, Teaching, and Natural Inspiration
by
Mark Doherty,
I have woven numerous delightful and descriptive true life stories, many from my adventures as an outdoorsman and singer songwriter, into my life as a high school English teacher. I think you'll find this work both entertaining as well as informative, and I hope you enjoy the often lighthearted repartee…
I loved the way Pamela Petro engages with, and understands, Cymraeg. She is American and studied in Cymru/Wales, learning the language as she went along. She really gets the animistic nature of Cymraeg, the way it is intimately bound to place and nature. Her exposition of words like hiraeth and cynefin is the best that I have found, and I learned so much from the book.
The Long Field burrows deep into the Welsh countryside to tell how this small country became a big part of an American writer's life. Petro, author of Travels in an Old Tongue, twines her story around that of Wales by viewing both through the lens of hiraeth, a quintessential Welsh word famously hard to translate. It literally means "long field," but is also more than the English approximation of "homesickness." It's a name for the bone-deep longing felt for someone or something--a home, culture, language, a younger self--that you've lost or left behind. Hiraeth is embodied by Arthur, King of…
The future is the one thing in which we are all invested. In order to shape the future we must be able to visualise possibilities, prepare for consequences, and take action. My job is to help companies, charities, and governments to see and prepare for the future. But so many of the lessons that I find myself trying to teach to leaders have their parallels in our personal and working lives - including mine. In a time of great uncertainty about the future, we all must take time out to picture where we’re going, make choices about our direction, and invest in ourselves to achieve our dreams.
When examining the future, you’re always dealing with lots of different sources of information.
Trying to understand how they align, interact, and compete is complex. It doesn’t matter whether you’re working as a futurist, trying to plot out a new business plan, or just thinking about your personal life.
One thing that has always helped me is writing. Getting it down on paper is a powerful way to structure your thoughts, to share them, and kick off collaboration.
If you want help using writing to explore your mind and your world, then this is the book. It’s in many ways quite simple, but it’s no less powerful than that.
Everything we're learning about how we function best as humans in the digital age is pointing towards one of our oldest technologies: the pen and the page.
Exploratory writing - writing for ourselves, not for others, writing when we don't know exactly what it is we want to say - is one of the most powerful and lightweight thinking tools we have at our disposal. It's also been, until now, one of the most overlooked.
My introduction to mystery writing was a competition for a first crime novel. I was lucky enough to win with Wobble to Death, about a Victorian long-distance race. When I went to collect the prize, I was startled to be asked if I was already at work on the next one. The publishers Macmillan had started a crime list and were looking for a career writer. I knew practically nothing about the genre and had to give myself a crash course. How I needed the support of books like these! After five years, I had the confidence to give up the day job and have made my living from mystery writing for almost fifty years.
No one can deny that Patricia Highsmith knew how to create suspense. Alfred Hitchcock saw that Strangers on a Train was the ideal spine-tingler for a great movie. Other directors have found the Ripley series perfect nail-biting stories to work with. Highsmith takes us through the process of building suspense from the germ of an idea through the plotting, the drafts, and the revisions, using examples from her own work, short stories, and novels. I’m not surprised this book has stayed in print for over fifty years. I still dip into it and get inspired.
Named by The Times as the all-time number one crime writer, Patricia Highsmith was an author who broke new ground and defied genre cliches with novels such as The Talented Mr Ripley and Strangers on a Train. In the classic creative writing guide Plotting and Writing Suspense Fiction, Highsmith reveals her secrets for producing world-class crime and thrillers, from imaginative tips for generating ideas to useful ways of turning them into stunning stories.
I believe in the power of personal narratives and the memoir genre as tools to foster healing and forgiveness. As a licensed professional counselor with a doctorate in adult education, I devoted years toward better understanding the fractured relationship I had with my mother, eventually uncovering the source of her pain and trauma. My mother’s mental health and addiction issues were muddied by the shame she carried for years, as a terrified secret keeper, full of self-loathing. Although I was often the target of her anger, I found a pathway to compassion that mended my heart and provided an example of intergenerational healing for my own daughter.
One of the conundrums that writers in the memoir genre encounter is the balancing act related to sharing family stories while addressing concerns and nuances about privacy.
Kerry Cohen’s The Truth of Memoir provides pointed advice about truthful storytellers, while also being considerate of multiple, familial viewpoints. Cohen reminds authors of the importance of thoughtfully assessing the motivation to write, cautioning those who may feel compelled to write in order to seek revenge, particularly when writing about family members.
When you write a memoir or personal essay, you dare to reveal the truths of your experience: about yourself, and about others in your life. How do you expose long-guarded secrets and discuss bad behavior? How do you gracefully portray your family members, friends, spouses, exes, and children without damaging your relationships? How do you balance your respect for others with your desire to tell the truth?
In The Truth of Memoir, best-selling memoirist Kerry Cohen provides insight and guidelines for depicting the characters who appear in your work with honesty and compassion. You'll…
