Confession: I have started, but not finished, these books. They’re scattered around the house (had to round them up for this post) but now that I’m not in the middle of a book for my Best YA Challenge from readingisdelicious or my book club or critiques or betas, I’m going to choose one and read it. Whole thing. And do the exercises! (I’m ambitious; it’s a blessing and a curse.)
1. Wired for Story: The Writer’s Guide to Using Brain Science to Hook Readers from the Very First Sentence, by Lisa Cron – This book takes us through twelve cognitive secrets, describing each one and its application to writing fiction. Some of the lessons aren’t exactly “new,” but they are shown in a new and memorable way. For example, Chapter 2’s Cognitive Secret is: When the brain focuses its full attention on something, it filters out all unnecessary information, and the Story Secret is: To hold the brain’s attention, everything in a story must be there on a need-to-know basis. I think most writers know this story secret, but seeing why it works and how that relates to the brain, is pretty darn cool. This is great for the beginning writer, and an interesting and fresh take for the intermediate/advanced writer.
2. Writing Irresistible Kidlit: The Ultimate Guide to Crafting Fiction for Young Adult and Middle Grade Readers, by Mary Kole – I followed Mary Kole’s Kitlit blog for a long time, and still check in occasionally. What I like about her advice and instruction is that she often goes deeper into technique and explanation than other books and blogs tackling similar issues. For example, she talks about Telling versus Showing, and discusses when Telling is good, like with Interiority. Another great point in this book’s favor is her discussion of the differences between middle grade and young adult fiction, as well as the psychological/developmental differences of the tween and the teen.
3. Writing 21st Century Fiction: High Impact Techniques for Exceptional Storytelling, by Donald Maass – I own two of Maass’s other books (The Fire in Fiction and Writing the Breakout Novel Workbook) and I would’ve thought with all the information and seriously amazingly helpful exercises in those, that he wouldn’t have much more to add. That kind of thinking is completely wrong, because with this book, he goes even further into excavating emotions in plot, character, premise (and possibly more – I’m not through with it yet!) to make them even more compelling. My brain explodes on a regular basis when I read this, because I’m thinking of two different WIPs, two sets of characters, and I want to do the exercises immediately for both. Simultaneously. Anyway, amazing book. This is the one I’m going to devote myself to for the next month. I think everyone can work with this book, but it helps to have finished a draft to work with.
4. The Emotion Thesaurus: A Writer’s Guide to Character Expression, by Angela Ackerman & Becca Puglisi – This is less a book on craft and more a resource, but just as useful the other books featured here. Ackerman and Puglisi have compiled 75 different emotions (alphabetized!), defining each one, listing the physical signals, internal sensations, mental responses, cues of having that emotion long-term, and cues of suppressing that emotion. Each entry lists related emotions, so the writer can cross-reference signals and responses. I think this is the niftiest thesaurus ever, great for writers at any point in their journey.