5 of My Favorite Books on Writing [So Far]

I’ve read enough books about writing to make it a challenge to pick a top five, but not so many that I would dare consider this list definitive. I know there are many great books on the subject that I’ve missed or are yet to come. I’m always interested in hearing about the picks of others, so feel free to comment.



5.) Writing Fiction from the Gotham Writers’ Workshop: This book is one-stop shopping for the fiction writer. Besides offering lessons on writing, it presents exercises to help one get down to the nitty-gritty. It explores character development, plotting, pacing, dialogue, revising — i.e. the whole ball of wax. While the book offers the advice of many and varied experts, it uses a Raymond Carver story [which is included as an appendix] as a connective tissue across the various chapters.

 

4.) Wired for Story by Lisa Cron: Cron explores what it is about stories that appeal to the human brain, and how to take advantage of such knowledge in crafting effective stories.

 

3.) Building Great Sentences by Brooks Landon: I bought the audio course from The Great Courses that this book is based upon and listened to it many times over. Landon’s approach to sentence crafting resonated with me, and while it might seem overly technical as one is perusing the Table of Contents, the author’s use of examples and his manner of explanation is clear and informative.

 

2.) The Anatomy of Story by John Truby: Like the GWW book above, this is a guide to crafting stories. However, while Writing Fiction gets into a lot of concrete details, Truby keeps a systematic emphasis on taking a flawed character through a course of events and decisions that will result in the character coming out of the story changed. Writing Fiction presents a greater diversity of views about what is important, but The Anatomy of Story offers a more cohesive approach to building one’s story.

 

1.) Zen in the Art of Writing by Ray Bradbury: Ray Bradbury was, in my opinion, one of the best when it came to combining story-crafting and creative use of language. One gets a lot of the latter in this book. It’s not a guide in the sense that most of the books above are. It’s inspiration — explicitly, and by example.

BOOK REVIEW: The Anatomy of Story by John Truby

The Anatomy of Story: 22 Steps to Becoming a Master StorytellerThe Anatomy of Story: 22 Steps to Becoming a Master Storyteller by John Truby
My rating: 5 of 5 stars

Amazon page

 

Whether a story works or not is often clear to small children and demented lunatics. Why a story does or doesn’t work requires a level of technical understanding not much less complex than that required to know why an internal combustion engine is or isn’t working. Why? Story structure rests invisibly below the surface (except to the writer and those who mine for it, and sometimes even to them,) and structure is where the story wins or fails.

John Truby’s book systematically explores what components are necessary to have an appealing story, and how those components are best arranged. It’s written for writers, allowing one to systematically proceed through the chapters in order to build a detailed outline of one’s story, but it could be beneficial for those who want to understand story in contexts other than writing (e.g. business uses, film-making, etc.)

As the subtitle mentions, Truby’s model of story revolves around a 22-step framework. It should be noted that this division is neither the only one imaginable, nor the only one that works. There are numerous great books on story available, and most have their own unique ways of organizing the details. While some authors focus heavily on screenplay versus the novel versus other story forms, Truby keeps his approach generalizable. Like others, he uses examples from both film and classic novels. Having said that Truby’s way isn’t the only way, it is a way that works, and it’s among the most popular works on story building.

While would-be writers may seek out books that focus on “concrete” issues, i.e. building character details, describing setting, plotting actions, etc., this book keeps eyes on the conceptual details that make or break a story. That is, the story consists of a flawed character with a need who experiences a chain of events or trials that results in him or her having a revelation and coming away changed. This is not to suggest that Truby doesn’t investigate issues like character development and creation of setting (there is a chapter each for those issues,) but he does so always with an eye to how one takes that character from a psychological and moral need through to a revelation, coming away somehow changed. I don’t want to make the book sound boring because it focuses on concepts like moral need, theme, and symbolism. Such concepts are what good stories are built upon. If one wonders why even movies with blockbuster budgets sometimes fail, it’s often because they lack such a conceptual framework.

The book consists of eleven chapters. The first sets up the idea of story and how stories work. The second chapter is about the premise of the story, the one-line idea that shapes the happenings of the story. Chapter three describes seven key steps of story, the seven are added to / expounded upon to develop the aforementioned 22 steps. The seven steps are: 1.) weakness & need, 2.) desire, 3.) opponent, 4.) plan, 5.) battle, 6.) self-revelation, 7.) new equilibrium.

The fourth chapter is about characters. However, it’s more about arranging characters in webs of interaction and considering them as archetypes in order to advance the story, rather than the usual types of advice on making unique characters. Chapter five is about the moral argument being made by the story. The hero’s path from need to revelation will reflect some sort of moral lesson. The sixth chapter is about story world, which other books might call “setting.” Again, the approach remains focused on advancing the story, and not on picking a time and place that seems neat or interesting for their own sake.

Chapter seven delves into territory that one doesn’t see in every book of writing advice, and that’s symbolism. The chapter describes building a symbol web that – like the story world – advances the feeling one is trying to create in the story. Chapter eight is about plot, and it fleshes out the seven key steps mentioned above to offer the full 22-step model. Chapters nine and ten discuss scene, the individual events happening in a story at a given time and place. The first deals with what Truby calls “scene weave” or how scenes are organized to create optimal tension. The penultimate chapter is about how individual scenes are constructed to advance the story. Chapter ten also explains how dialogue is most effectively written. The final chapter is a brief conclusion that explains how stories with good structure maintain relevance.

The book uses text-boxes, graphics, and notes as necessary.

I found this book to be tremendously useful. Truby spends a lot of time using well-known examples from film and literature to explore how the masters put together stories, and that benefits the reader greatly. 22 steps sounds like an unduly complex approach, but it works, especially as the focus remains so tightly on the hero’s arc. I’d highly recommend this book for writers, and anyone else who needs to understand story at a detailed level.

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