Top 10 books about creative writing
Poet Rita Dove was once asked what makes poetry successful. She went on to illuminate three key areas: first, the heart of the writer; the things they wish to say — their politics and overarching sensibilities. Second, their tools: how they work language to organise and position words. And the third, the love a person must have for books: “To read, read, read.”
When I started mapping out How to Write It, I wanted to focus on the aspects of writing development that took in both theoretical and interpersonal aspects.
No writer lives in a vacuum, their job is an endless task of paying attention.
“How do I get myself an agent? What’s the best way to approach a publisher? Should I self-publish?” There is never one way to assuage the concerns of those looking to make a career out of writing. Many labour tirelessly for decades on manuscripts that never make it to print. The United Kingdom on average publishes around 185 000 new titles per year, ranking us the third largest publishing market in the world, yet the number of aspiring writers is substantially greater.
Writers writing about writing can become a supercilious endeavour; I’m more interested in the process of making work and the writer’s perspectives that substantiate the framework.
There is no single authority, anything is possible. All that is required are some words and an idea — which makes the art of writing enticing, but also difficult and daunting. The books listed below, diverse in their central arguments and genres, guide us towards more interesting and lateral ways to think about what we want to say, and ultimately, how we choose to say it.
The Hatred of Poetry: Ben Lerner
An intellectual meditation on the cultural function of poetry. Less idealistic than other poetry criticism, Lerner puts forward a richly layered case for the reasons writers and readers alike turn to poetry, probing into why it’s often misconceived as elitist or tedious and asks that we reconsider the value we place on the art form today.
Find Your Voice: Angie Thomas
One of the hardest things about creative writing is developing a voice and not compromising your vision for the sake of public appeal. Thomas offers sharp advice to those wrestling with novels or Young Adult fiction. She writes with appealing honesty, taking in everything from writer’s block to deciding what a final draft should look like. The book also comes interspersed with prompts and writing exercises alongside other tips and suggestions to help airlift writers out of the mud.
Linguistics:
Why It Matters: Geoffrey K Pullum
If language is in a constant state of flux, and rules governing sentence construction, meaning and logic are always at a point of contention, what then can conventional modes of language and linguistics tell us about ourselves, our cultures and our relationship to the material world? Pullum addresses a number of philosophical questions through the scientific study of human languages — their grammars, clauses and limitations. An approachable, fascinating resource for those interested in the mechanics of words.
Madness, Rack, and Honey by Mary Ruefle
The collected lectures of poet and professor Mary Ruefle present us with an erudite inquiry into some of the major aspects of a writer’s mind and craft. Ruefle possesses an uncanny ability to excavate broad and complex subjects with such unforced and original lucidity that you come away feeling as if you’ve acquired an entirely new perspective from only a few pages. Themes range from sentimentality in poetry, to fear, beginnings and — a topic she returns to throughout the book — wonder. “A poem is a finished work of the mind, it is not the work of a finished mind.”
Feel Free : Zadie Smith
These astute and topical essays dating from 2010 to 2017 demonstrate Smith’s forensic ability to navigate and unpack everything from Brexit to Justin Bieber. Dissecting high philosophical works then bringing the focus back on to her own practice as a fiction writer, her essay The I Who Is Not Me sees Smith extrapolate on how autobiography shapes novel writing, and elucidates her approach to thinking around British society’s tenuous and often binary perspectives on race, class and ethnicity.
Threads: Sandeep Parmar, Nisha Ramayya and Bhanu Kapil
Who occupies the “I” in poetry? When poets write, are they personally embodying their speakers or are they intended to be emblematic of something larger and more complex? Is the “I” assumed to be immutable or is it more porous? These are the questions posited in Threads, which illuminates the function of the lyric “I” in relation to whiteness, maleness and Britishness. Its short but acute essays interrogate whiteness’s hegemony in literature and language, revealing how writers from outside the dominant paradigm are often made to reckon with the positions and perspectives they write from.
Mouth Full of Blood: Toni Morrison
An urgent set of essays and lectures from the late Nobel Prize winner that collates her most discerning musings around citizenship, race and art, as well as offering invaluable insight into the craft of writing. She reflects on revisions made to her most famous novel, Beloved, while also reflecting on the ways vernaculars can shape new stories. One of my favourite aphorisms written by Morrison sits on my desk and declares: “As writers, what we do is remember. And to remember this world is to create it.”
On Poetry: Jonathan Davidson
Poetry can be thought of as something arduous or an exercise in analysis, existing either within small artistic enclaves or secondary school classrooms. One of the many strengths of Davidson’s writing is how he makes poetry feel intimate and personal, neither dry or remote. His approach to thinking around ways that certain poems affect us is well measured without being exclusive. A timely and resourceful book for writers interested in how poems go on to live with us throughout our lives.
Essays: Lydia Davis
From flash fiction to stories, Davis is recognised as one of the preeminent writers of short-form fiction. In these essays, spanning several decades, she tracks much of her writing process and her relationship to experimentalism, form and the ways language can work when pushed to its outer limits. How we read into lines is something Davis returns to, as is the idea of risk and brevity within micro-fiction.
Essayism: Brian Dillon
Dillon summarises the essay as an “experiment in attention”. This dynamic and robust consideration of the form sheds light on how and why certain essays have changed the cultural and political landscape, from the end of the Middle Ages to the present time. A sharp and curious disquisition on one of the more popular yet challenging writing enterprises. — The Guardian.