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The 20+ Best Books on Creative Writing

If you’ve ever wondered, “How do I write a book?”, “How do I write a short story?”, or “How do I write a poem?” you’re not alone. I’m halfway done my MFA program at Vermont College of Fine Arts , and I ask myself these questions a lot, too, though I’m noticing that by now I feel more comfortable with the answers that fit my personal craft. Fortunately, you don’t need to be a Master’s of Fine Arts in Writing candidate, or even a college graduate, in order to soak up the great Wisdom of Words, as I like to call it. Another word for it is craft . That’s because there are so many great books out there on writing craft. In this post, I’ll guide you through 20+ of the most essential books on creative writing. These essential books for writers will teach you what you need to know to write riveting stories and emotionally resonant books—and to sell them.

I just also want to put in a quick plug for my post with the word count of 175 favorite novels . This resource is helpful for any writer.

Now, with that done… Let’s get to it!

What Made the List of Essential Books for Writers—and What Didn’t

So what made the list? And what didn’t?

Unique to this list, these are all books that I have personally used in my journey as a creative and commercial writer.

That journey started when I was 15 and extended through majoring in English and Creative Writing as an undergrad at UPenn through becoming a freelance writer in 2014, starting this book blog, pursuing my MFA in Writing for Children and Young Adults at Vermont College of Fine Arts , and publishing some fiction and nonfiction books myself . My point here is not to boast, just to explain that these books have all helped me better understand and apply the craft, discipline, and business of writing over the course of more than half my life as I’ve walked the path to become a full-time writer. Your mileage my vary , but each of these books have contributed to my growth as a writer in some way. I’m not endorsing books I’ve never read or reviewed. This list comes from my heart (and pen!).

Most of these books are geared towards fiction writers, not poetry or nonfiction writers

It’s true that I’m only one human and can only write so much in one post. Originally, I wanted this list to be more than 25 books on writing. Yes, 25 books! But it’s just not possible to manage that in a single post. What I’ll do is publish a follow-up article with even more books for writers. Stay tuned!

The most commonly recommended books on writing are left out.

Why? Because they’re everywhere! I’m aiming for under-the-radar books on writing, ones that aren’t highlighted often enough. You’ll notice that many of these books are self-published because I wanted to give voice to indie authors.

But I did want to include a brief write-up of these books… and, well, you’ve probably heard of them, but here are 7 of the most recommended books on writing:

The Artist’s Way by Julia Cameron – With her guided practice on how to rejuvenate your art over the course of 16 weeks, Cameron has fashioned an enduring classic about living and breathing your craft (for artists as well as writers). This book is perhaps best known for popularizing the morning pages method.

The Art of Fiction by John Gardner – If you want to better understand how fiction works, John Gardner will be your guide in this timeless book.

Bird by Bird by Anne Lamott – A beloved writing book on process, craft, and overcoming stumbling blocks (both existential and material).

On Writing by Stephen King – A must-read hybrid memoir-craft book on the writer mythos and reality for every writer.

Reading Like a Writer by Francine Prose – A core writing book that teaches you how to read with a writer’s eye and unlock the ability to recognize and analyze craft for yourself.

Steering the Craft by Ursula K. Le Guin – Many writers consider this to be their bible on craft and storytelling.

Writing Down the Bones: Freeing the Writer Within by Natalie Goldberg – A favorite of many writers, this book takes an almost spiritual approach to the art, craft, and experience of writing.

I’m aiming for under-the-radar books on writing on my list.

These books are all in print.

Over the years, I’ve picked up several awesome books on creative writing from used bookstores. Oh, how I wish I could recommend these! But many of them are out of print. The books on this list are all available new either as eBooks, hardcovers, or paperbacks. I guess this is the right time for my Affiliate Link disclaimer:

This article contains affiliate links, which means I might get a small portion of your purchase. For more on my affiliate link policy, check out my official Affiliate Link Disclaimer .

You’ll notice a lot of the books focus on the business of writing.

Too often, money is a subject that writers won’t talk about. I want to be upfront about the business of writing and making a living as a writer (or not ) with these books. It’s my goal to get every writer, even poets!, to look at writing not just from a craft perspective, but from a commercial POV, too.

And now on to the books!

Part i: the best books on writing craft, the anatomy of story by john truby.

For you if: You want to develop an instinctive skill at understanding the contours of storytelling .

All I want to do as a writer, my MO, is tell good stories well. It took me so long to understand that what really matters to me is good storytelling. That’s it—that’s the essence of what we do as writers… tell good stories well. And in The Anatomy of Story , legendary screenwriting teacher John Truby takes you through story theory. This book is packed with movie references to illustrate the core beat points in story, and many of these example films are actually literary adaptations, making this a crossover craft book for fiction writers and screenwriters alike.

How to read it: Purchase The Anatomy of Story on Amazon and add it on Goodreads

The art of memoir by mary karr.

For you if: You’re writing a memoir book or personal essays .

Nobody is a better person to teach memoir writing than Mary Karr, whose memoirs The Liar’s Club and Lit are considered classics of the genre. In The Art of Memoir , Karr delivers a master class on memoir writing, adapted from her experience as a writer and a professor in Syracuse’s prestigious MFA program. What I love about this book as an aspiring memoirist is Karr’s approach, which blends practical, actionable advice with more bigger-picture concepts on things like truth vs. fact in memoir storytelling. Like I said in the intro to this list, I didn’t include many nonfiction and poetry books on this list, but I knew I had to make an exception for The Art of Memoir .

How to read it: Purchase The Art of Memoir on Amazon and add it on Goodreads

The emotional craft of fiction by donald maass.

For you if: Plot isn’t your problem, it’s character .

From literary agent Donald Maass, The Emotional Craft of Fiction gives you the skill set you need to master emotionally engaging fiction. Maass’s technique is to show you how readers get pulled into the most resonant, engaging, and unforgettable stories: by going through an emotional journey nimbly crafted by the author. The Emotional Craft of Fiction is a must-have work of craft to balance more plot-driven craft books.

How to read it: Purchase the The Emotional Craft of Fiction on Amazon and add it on Goodreads

How to Write Using the Snowflake Method by Randy Ingermanson

For you if: You need a quick-and-dirty plotting technique that’s easy to memorize .

I first heard of the “Snowflake Method” in the National Novel Writing Month forums (which, by the way, are excellent places for finding writing craft worksheets, book recommendations, and online resources). In How to Write a Novel Using the Snowflake Method , the Snowflake Method is introduced by its creator. This quick yet thorough plotting and outlining structure is humble and easy to master. If you don’t have time to read a bunch of books on outlining and the hundreds of pages that would require, check out How to Write a Novel Using the Snowflake Method for a quick, 235-page read.

How to read it: Purchase How to Write a Novel Using the Snowflake Method on Amazon and add it on Goodreads

Meander, spiral, explode: design and pattern in narrative by jane alison.

For you if: You want to do a deep dive understanding of the core theory of story, a.k.a. narrative.

A most unconventional writing craft book, Meander, Spiral, Explode offers a theory of narrative (story) as recognizable patterns. According to author Jane Alison, there are three main narrative narratives in writing: meandering, spiraling, and exploding. This cerebral book (chock full of examples!) is equal parts seminar on literary theory as it is craft, and it will make you see and understand storytelling better than maybe any book on this list.

How to read it: Purchase Meander, Spiral, Explode on Amazon and add it on Goodreads

The modern library writer’s workshop by stephen koch.

For you if: You’re wondering what it means to be the writer you want to become .

This is one of the earliest creative writing books I ever bought and it remains among the best I’ve read. Why? Reading The Modern Library Writer’s Workshop echoes the kind of mind-body-spirit approach you need to take to writing. The Modern Library Writer’s Workshop doesn’t teach you the nuts and bolts of writing as much as it teaches you how to envision the machine. Koch zooms out to big picture stuff as much as zeroes in on the little details. This is an outstanding book about getting into the mindset of being a writer, not just in a commercial sense, but as your passion and identity. It’s as close as you’ll get to the feel of an MFA in Fiction education.

How to read it: Purchase The Modern Library Writer’s Workshop on Amazon and add it on Goodreads

Romancing the beat by gwen hayes.

For you if: You write or edit the romance genre and want a trusted plotting strategy to craft the perfect love story .

If you’re writing romance, you have to get Gwen Hayes’s Romancing the Beat . This book breaks down the plot points or “beats” you want to hit when you’re crafting your romance novel. When I worked as a romance novel outliner (yes, a real job), our team used Romancing the Beat as its bible; every outline was structured around Hayes’s formula. For romance writers (like myself) I cannot endorse it any higher.

How to read it: Purchase Romancing the Beat on Amazon and add it on Goodreads

Save the cat writes a novel by jessica brody.

For you if: You have big ideas for a plot but need to work on the smaller moments that propel stories .

Jessica Brody’s Save the Cat! Writes a Novel adapts Blake Snyder’s bestselling screenwriting book Save the Cat! into story craft for writing novels. Brody reworks the Save the Cat! methodology in actionable, point-by-point stages of story that are each explained with countless relevant examples. If you want to focus your efforts on plot, Save the Cat! Writes a Novel is an excellent place to go to start learning the ins and outs of what makes a good story.

How to read it: Purchase Save the Cat! Writes a Novel on Amazon and add it on Goodreads

Story genius by lisa cron.

For you if: You’re a pantser and are terrified at outlining yet also realize you might have a “plot problem .”

More than any other book, Lisa Cron’s Story Genius will get you where you need to go for writing amazing stories. Story Genius helps you look at plotting differently, starting from a point of characterization in which our protagonists have a clearly defined need and misbelief that play off each other and move the story forward from an emotional interior and action exterior standpoint. For many of my fellow MFA students—and myself— Story Genius is the missing link book for marrying plot and character so you innately understand the contours of good story.

How to read it: Purchase Story Genius on Amazon and add it on Goodreads

Wonderbook: the illustrated guide to creating imaginative fiction by jeff vandermeer.

For you if: You’re writing in a speculative fiction genre—like science fiction, fantasy, or horror—or are trying to better understand those genres.

Jeff VanderMeer’s Wonderbook is a dazzling gem of a book and a can’t-miss-it writing book for sci-fi, fantasy, and horror writers. This book will teach you all the skills you need to craft speculative fiction, like world-building, with micro-lessons and close-reads of excellent works in these genres. Wonderbook is also one to linger over, with lavish illustrations and every inch and corner crammed with craft talk for writing imaginative fiction (sometimes called speculative fiction). And who better to guide you through this than Jeff VanderMeer, author of the popular Southern Reach Trilogy, which kicks off with Annihilation , which was adapted into a feature film.

How to read it: Purchase Wonderbook on Amazon and add it on Goodreads

Writing picture books by ann whitford paul.

For you if: You’re looking to write picture books and/or understand how they work .

This book is the only one you need to learn how to write and sell picture books. As an MFA student studying children’s literature, I’ve consulted with this book several times as I’ve dipped my toes into writing picture books, a form I considered scary and intimidating until reading this book. Writing Picture Books should be on the shelf of any writer of children’s literature. a.k.a. “kid lit.”

How to read it: Purchase Writing Picture Books on Amazon and add it on Goodreads

Writing with emotion, conflict, and tension by cheryl st. john.

For you if: You need to work on the conflict, tension, and suspense that keep readers turning pages and your story going forward .

Mmm, conflict. As I said earlier, it’s the element of fiction writing that makes a story interesting and a key aspect of characterization that is underrated. In Writing with Emotion, Tension, and Conflict , bestselling romance author Cheryl St. John offers a masterclass on the delicate dance between incorporating conflict, the emotions it inspires in characters, and the tension that results from those two factors.

How to read it: Purchase Writing with Emotion, Tension, and Conflict on Amazon and add it on Goodreads

Part ii: the best books on the productivity, mfas, and the business of writing, 2k to 10k: writing faster, writing better, and writing more of what you love by rachel aaron.

For you if: You struggle to find the time to write and always seem to be a chapter or two behind schedule .

If you’re struggling to find time of your own to write with competing obligations (family, work, whatever) making that hard, you need Rachel Aaron’s 2k to 10k . This book will get you in shape to go from writing just a few words an hour to, eventually, 10,000 words a day. Yes, you read that right. 10,000 words a day. At that rate, you can complete so many more projects and publish more. Writers simply cannot afford to waste time if they want to keep up the kind of production that leads to perpetual publication. Trust me, Aaron’s method works. It has for me. I’m on my way to 10k in the future, currently at like 4 or 5k a day for me at the moment.

How to read it: Purchase 2k to 10k on Amazon and add it on Goodreads

The 3 a.m. epiphany by brian kitele.

For you if: You’re going through writer’s block, have been away from writing for a while, or just want to loosen up and try something new .

Every writer must own an an exercise or prompt book. Why? Because regularly practicing your writing by going outside your current works-in-progress (or writer’s block) will free you up, help you plant the seeds for new ideas, and defrost your creative blocks. And the best book writing exercise book I know is The 3 A.M. Epiphany by Brian Kiteley, an MFA professor who uses prompts like these with his grad students. You’ll find that this book (and its sequel, The 4 A.M. Breakthrough ) go beyond cutesy exercises and forces you to push outside your comfort zone and learn something from the writing you find there.

How to read it: Purchase The 3 A.M. Epiphany on Amazon and add it on Goodreads

The 4-hour workweek by timothy ferriss.

For you if: You think being a writer means you have to be poor .

The 4-Hour Workweek changed my life. Although not strictly about writing in the traditional sense, The 4-Hour Workweek does an excellent job teaching you about how passive income can offer you freedom. I first heard about The 4-Hour Workweek when I was getting into tarot in 2013. On Biddy Tarot , founder Brigit (author of some of the best books on tarot ) related how she read this book, learned how to create passive income, and quit her corporate job to read tarot full time. As a person with a total and permanent disability, this spoke to me because it offered a way out of the 9-to-5 “active” income that I thought was the only way. I picked up Ferriss’s book and learned that there’s more than one option, and that passive income is a viable way for me to make money even when I’m too sick to work. I saw this come true last year when I was in the hospital. When I got out, I checked my stats and learned I’d made money off my blog and books even while I was hospitalized and couldn’t do any “active” work. I almost cried.; I’ve been working on my passive income game since 2013, and I saw a return on that time investment when I needed it most.

That’s why I’m recommending The 4-Hour Workweek to writers. So much of our trade is producing passive income products. Yes, your books are products! And for many writers, this means rewiring your brain to stop looking at writing strictly as an art that will leave you impoverished for life and start approaching writing as a business that can earn you a real living through passive income. No book will help you break out of that mindset better than The 4-Hour Workweek and its actionable steps, proven method, and numerous examples of people who have followed the strategy and are living the lifestyle they’ve always dreamed of but never thought was possible.

How to read it: Purchase The 4-Hour Workweek on Amazon and add it on Goodreads

Before and After the Book Deal: A Writer’s Guide to Finishing, Publishing, Promoting, and Surviving Your First Book by Courtney Maum

For you if: You’re serious about making a living as a writer and publishing with a Big 5 or major indie publisher .

Courtney Maum’s Before and After the Book Deal addresses exactly what its title suggests: what happens after you sell your first book. This book is for ambitious writers intent on submission who know they want to write and want to avoid common pitfalls while negotiating terms and life after your debut. As many published authors would tell you, the debut is one thing, but following that book up with a sustainable, successful career is another trick entirely. Fortunately, we have Maum’s book, packed with to-the-moment details and advice.

How to read it: Purchase Before and After the Book Deal on Amazon and add it on Goodreads

Diy mfa: write with focus, read with purpose, build your community by gabriela pereira.

For you if: You’re stressed out wondering if you really need an MFA .

The MFA is under this header “business of writing” because it is absolutely an economic choice you make. And, look, I’m biased. I’m getting an MFA. But back when I was grappling with whether or not it was worth it—the debt, the time, the stress—I consulted with DIY MFA , an exceptional guide to learning how to enrich your writing craft, career, and community outside the structures of an MFA program. I’ve also more than once visited the companion site, DIYMFA.com , to find a kind of never-ending rabbit hole of new and timeless content on the writing life. On DIYMFA.com and in the corresponding book, you’ll find a lively hub for author interviews, writing craft shop talk, reading lists, and business of writing articles.

How to read it: Purchase DIY MFA on Amazon and add it on Goodreads

Mfa vs. nyc by chad harbach.

For you if: You’re wondering how far an MFA really gets you—and you’re ready to learn the realities of the publishing world .

About a thousand years ago (well, in 2007), I spent the fall of my sophomore year of college as a “Fiction Submissions and Advertising Intern” for the literary magazine n+1 , which was co-founded by Chad Harbach, who you might know from his buzzy novel, The Art of Fielding . In MFA vs NYC , Harbach offers his perspective as both an MFA graduate and someone deeply enmeshed in the New York City publishing industry. This thought-provoking look at these two arenas that launch writers will pull the wool up from your eyes about how publishing really works . It’s not just Harbach’s voice you get in here, though. The book, slim but mighty, includes perspectives from the likes of George Saunders and David Foster Wallace in the MFA camp and Emily Gould and Keith Gessen speaking to NYC’s writing culture.

How to read it: Purchase MFA vs. NYC on Amazon and add it on Goodreads

Scratch: writers, money, and the art of making a living – edited by manjula martin.

For you if: a) You’re worried about how to balance writing with making a living; b) You’re not worried about how to balance writing with making a living .

Scratch: Writers, Money, and the Art of Making a Living is alternately one of the most underrated and essential books on writing out there. This collection of personal essays and interviews all revolve around the taboo theme of how writers make their living, and it’s not always—indeed, rarely—through writing alone. Some of the many contributing authors include Cheryl Strayed ( Wild ), Alexander Chee ( How to Write an Autobiographical Novel ), Jennifer Weiner ( Mrs. Everything ), Austin Kleon ( Steal Like an Artist ), and many others. Recently a young woman asked me for career advice on being a professional freelance writer, and I made sure to recommend Scratch as an eye-opening and candid read that is both motivating and candid.

How to read it: Purchase Scratch: Writers, Money, and the Art of Making a Living on Amazon and add it on Goodreads

Write to market: deliver a book that sells by chris fox.

For you if: You don’t know why your books aren’t selling—and you want to start turning a profit by getting a real publishing strategy

So you don’t have to be an indie author to internalize the invaluable wisdom you’ll find here in Write to Market . I first heard about Write to Market when I first joined the 20Booksto50K writing group on Facebook , a massive, supportive, motivating community of mostly indie authors. Everyone kept talking about Write to Market . I read the book in a day and found the way I looked at publishing change. Essentially, what Chris Fox does in Write to Market is help you learn to identify what are viable publishing niches. Following his method, I’ve since published several successful and #1 bestselling books in the quotations genre on Amazon . Without Fox’s book, I’m not sure I would have gotten there on my own.

How to read it: Purchase Write to Market on Amazon and add it on Goodreads

And that’s a wrap what are some of your favorite writing books, share this:, you might be interested in.

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Sarah S. Davis is the founder of Broke by Books, a blog about her journey as a schizoaffective disorder bipolar type writer and reader. Sarah's writing about books has appeared on Book Riot, Electric Literature, Kirkus Reviews, BookRags, PsychCentral, and more. She has a BA in English from the University of Pennsylvania, a Master of Library and Information Science from Clarion University, and an MFA in Writing for Children and Young Adults from Vermont College of Fine Arts.

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Make Your Own List

Language » Writing Books

The best books on creative writing, recommended by andrew cowan.

The professor of creative writing at UEA says Joseph Conrad got it right when he said that the sitting down is all. He chooses five books to help aspiring writers.

Becoming a Writer by Dorothea Brande

On Becoming a Novelist by John C. Gardner

On Writing: A Memoir of the Craft by Stephen King

The Forest for the Trees by Betsy Lerner

Worstward Ho by Samuel Beckett

1 Becoming a Writer by Dorothea Brande

2 on becoming a novelist by john c. gardner, 3 on writing: a memoir of the craft by stephen king, 4 the forest for the trees by betsy lerner, 5 worstward ho by samuel beckett.

How would you describe creative writing?

But because it is in academia there is all this paraphernalia that has to go with it. So you get credits for attending classes. You have to do supporting modules; you have to be assessed. If you are doing an undergraduate degree you have to follow a particular curriculum and only about a quarter of that will be creative writing and the rest will be in the canon of English literature . If you are doing a PhD you have to support whatever the creative element is with a critical element. So there are these ways in which academia disciplines writing and I think of that as Creative Writing with a capital C and a capital W. All of us who teach creative writing are doing it, in a sense, to support our writing, but it is also often at the expense of our writing. We give up quite a lot of time and mental energy and also, I think, imaginative and creative energy to teach.

Your first choice is Dorothea Brande’s Becoming a Writer , which for someone writing in 1934 sounds pretty forward thinking.

Because creative writing has now taken off and has become this very widespread academic discipline it is beginning to acquire its own canon of key works and key texts. This is one of the oldest of them. It’s a book that almost anyone who teaches creative writing will have read. They will probably have read it because some fundamentals are explained and I think the most important one is Brande’s sense of the creative writer being comprised of two people. One of them is the artist and the other is the critic.

Actually, Malcolm Bradbury who taught me at UEA, wrote the foreword to my edition of Becoming a Writer , and he talks about how Dorothea Brande was writing this book ‘in Freudian times’ – the 1930s in the States. And she does have this very Freudian idea of the writer as comprised of a child artist on the one hand, who is associated with spontaneity, unconscious processes, while on the other side there is the adult critic making very careful discriminations.

And did she think the adult critic hindered the child artist?

No. Her point is that the two have to work in harmony and in some way the writer has to achieve an effective balance between the two, which is often taken to mean that you allow the artist child free rein in the morning. So you just pour stuff on to the page in the morning when you are closest to the condition of sleep. The dream state for the writer is the one that is closest to the unconscious. And then in the afternoon you come back to your morning’s work with your critical head on and you consciously and objectively edit it. Lots of how-to-write books encourage writers to do it that way. It is also possible that you can just pour stuff on to the page for days on end as long as you come back to it eventually with a critical eye.

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Good! Your next book, John Gardner’s On Becoming a Novelist , is described as comfort food for the aspiring novelist.

This is another one of the classics. He was quite a successful novelist in the States, but possibly an even more successful teacher of creative writing. The short story writer and poet Raymond Carver, for instance, was one of his students. And he died young in a motorcycle accident when he was 49. There are two classic works by him. One is this book, On Becoming a Novelist , and the other is The Art of Fiction: Notes on Craft for Young Writers . They were both put together from his teaching notes after he died.

On Becoming a Novelist  is the more succinct and, I think, is the better of the two. He talks about automatic writing and the idea, just like Dorothea Brande, of the artist being comprised of two people. But his key idea is the notion of the vivid and continuous dream. He suggests that when we read a novel we submit to the logic of that novel in the same way as we might submit to the logic of a dream – we sink into it, and clearly the events that occur could not exist outside the imagination.

What makes student writing in particular go wrong is when it draws attention to itself, either through bad writing or over-elaborate writing. He suggests that these faults in the aspirant writer alert the reader to the fact that they are reading a fiction and it is a bit like giving someone who is dreaming a nudge. It jolts them out of the dream. So he proposes that the student writer should try to create a dream state in the reader that is vivid and appeals to all the senses and is continuous. What you mustn’t do is alert the reader to the fact that they are reading a fiction.

It is a very good piece of advice for writers starting out but it is ultimately very limiting. It rules out all the great works of modernism and post-modernism, anything which is linguistically experimental. It rules out anything which draws attention to the words as words on a page. It’s a piece of advice which really applies to the writing of realist fiction, but is a very good place from which to begin.

And then people can move on.

I never would have expected the master of terror Stephen King to write a book about writing. But your next choice, On Writing , is more of an autobiography .

Yes. It is a surprise to a lot of people that this book is so widely read on university campuses and so widely recommended by teachers of writing. Students love it. It’s bracing: there’s no nonsense. He says somewhere in the foreword or preface that it is a short book because most books are filled with bullshit and he is determined not to offer bullshit but to tell it like it is.

It is autobiographical. It describes his struggle to emerge from his addictions – to alcohol and drugs – and he talks about how he managed to pull himself and his family out of poverty and the dead end into which he had taken them. He comes from a very disadvantaged background and through sheer hard work and determination he becomes this worldwide bestselling author. This is partly because of his idea of the creative muse. Most people think of this as some sprite or fairy that is usually feminine and flutters about your head offering inspiration. His idea of the muse is ‘a basement guy’, as he calls him, who is grumpy and turns up smoking a cigar. You have to be down in the basement every day clocking in to do your shift if you want to meet the basement guy.

Stephen King has this attitude that if you are going to be a writer you need to keep going and accept that quite a lot of what you produce is going to be rubbish and then you are going to revise it and keep working at it.

Do you agree with him?

He sounds inspirational. Your next book, Betsy Lerner’s The Forest for the Trees , looks at things from the editor’s point of view.

Yes, she was an editor at several major American publishing houses, such as Simon & Schuster. She went on to become an agent, and also did an MFA in poetry before that, so she came through the US creative writing process and understands where many writers are coming from.

The book is divided into two halves. In the second half she describes the process that goes from the completion of the author’s manuscript to submitting it to agents and editors. She explains what goes on at the agent’s offices and the publisher’s offices. She talks about the drawing up of contracts, negotiating advances and royalties. So she takes the manuscript from the author’s hands, all the way through the publishing process to its appearance in bookshops. She describes that from an insider’s point of view, which is hugely interesting.

But the reason I like this book is for the first half of it, which is very different. Here she offers six chapters, each of which is a character sketch of a different type of author. She has met each of them and so although she doesn’t mention names you feel she is revealing something to you about authors whose books you may have read. She describes six classic personality types. She has the ambivalent writer, the natural, the wicked child, the self-promoter, the neurotic and a chapter called ‘Touching Fire’, which is about the addictive and the mentally unstable.

Your final choice is Worstward Ho by Samuel Beckett .

This is a tiny book – it is only about 40 pages and it has got these massive white margins and really large type. I haven’t counted, but I would guess it is only about two to three thousand words and it is dressed up as a novella when it is really only a short story. On the first page there is this riff: ‘Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.’

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When I read this I thought I had discovered a slogan for the classroom that I could share with my students. I want to encourage them to make mistakes and not to be perfectionists, not to feel that everything they do has to be of publishable standard. The whole point of doing a course, especially a creative writing MA and attending workshops, is that you can treat the course as a sandpit. You go in there, you try things out which otherwise you wouldn’t try, and then you submit it to the scrutiny of your classmates and you get feedback. Inevitably there will be things that don’t work and your classmates will help you to identify those so that you can take it away and redraft it – you can try again. And inevitably you are going to fail again because any artistic endeavour is doomed to failure because the achievement can never match the ambition. That’s why artists keep producing their art and writers keep writing, because the thing you did last just didn’t quite satisfy you, just wasn’t quite right. And you keep going and trying to improve on that.

But why, when so much of it is about failing – failing to get published, failing to be satisfied, failing to be inspired – do writers carry on?

I have a really good quote from Joseph Conrad in which he says the sitting down is all. He spends eight hours at his desk, trying to write, failing to write, foaming at the mouth, and in the end wanting to hit his head on the wall but refraining from that for fear of alarming his wife!

It’s a familiar situation; lots of writers will have been there. For me it is a kind of obsessive-compulsive disorder. It is something I have to keep returning to. I have to keep going back to the sentences, trying to get them right. Trying to line them up correctly. I can’t let them go. It is endlessly frustrating because they are never quite right.

You have published four books. Are you happy with them?

Reasonably happy. Once they are done and gone I can relax and feel a little bit proud of them. But at the time I just experience agonies. It takes me ages. It takes me four or five years to finish a novel partly because I always find distractions – like working in academia – something that will keep me away from the writing, which is equally as unrewarding as it is rewarding!

September 27, 2012

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Andrew Cowan

Andrew Cowan is Professor of Creative Writing and Director of the Creative Writing programme at UEA. His first novel, Pig , won the Sunday Times Young Writer of the Year Award, the Betty Trask Award, the Ruth Hadden Memorial Prize, the Author’s Club First Novel Award and a Scottish Council Book Award. He is also the author of the novels Common Ground , Crustaceans ,  What I Know  and  Worthless Men . His own creative writing guidebook is  The  Art  of  Writing  Fiction .

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Top 10 books about creative writing

From linguistics to essays by Zadie Smith and Toni Morrison, poet Anthony Anaxagorou recommends some ‘lateral’ ways in to a demanding craft

T he 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 UK 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’s no single authority, anything is possible. All that’s 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.

1. The Hatred of Poetry by 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.

2. Find Your Voice by 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.

3. Linguistics: Why It Matters by 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.

4. 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.”

5. Feel Free by 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.

6. Threads by 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.

7. Mouth Full of Blood by 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.”

8. On Poetry by 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.

9. Essays by 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.

10. Essayism by 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.

How to Write It by Anthony Anaxagorou is published by Merky Books. To order a copy, go to guardianbookshop.com .

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10 Best Creative Writing Books to Read in 2023

Introduction:.

The world of creative writing possesses an extraordinary ability to unleash imagination, craft narratives, and evoke emotions that resonate with readers. Whether you're an aspiring writer or simply someone who appreciates the art of storytelling, consider Oxford Summer Courses. Embark on a transformative journey through our Creative Writing summer school, where you will have the opportunity to explore the art of crafting compelling narratives, experimenting with various writing styles, and honing your literary skills.

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Please note that the following list of books is recommended reading to broaden your knowledge and deepen your appreciation of creative writing and literature. While some of these books may be included in the Oxford Summer Courses curriculum, the specific content of the summer school can vary. If you wish to study these subjects with us, you can apply to our Creative Writing summer school.

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1. On Writing, by Stephen King

• "Amateurs sit and wait for inspiration; the rest of us just get up and go to work."
• Published in 2000, "On Writing" by Stephen King is a masterclass in the craft of storytelling. It combines King's personal journey as a writer with practical advice on honing your writing skills during your time at Oxford Summer Courses.
• Discussion: How can Stephen King's advice on discipline and the writing process benefit aspiring writers at Oxford Summer Courses today?

2. Bird by Bird, by Anne Lamott

• "Almost all good writing begins with terrible first efforts. You need to start somewhere."
• Anne Lamott's "Bird by Bird" is an encouraging guide for writers facing the daunting task of putting words on the page. Through humor and personal anecdotes, she offers valuable insights into the writing process during your Creative Writing summer school at Oxford Summer Courses.
• Discussion: How does Lamott's emphasis on "shitty first drafts" resonate with your own experiences as a writer at Oxford Summer Courses?

3. The Elements of Style, by William Strunk Jr. and E.B. White

• "Omit needless words."
• A timeless classic, "The Elements of Style" is a concise guide to writing well. It provides essential rules of grammar and composition that every writer should know, especially during their time at Oxford Summer Courses.
• Discussion: How do the principles outlined in "The Elements of Style" apply to various forms of creative writing, from fiction to poetry, at Oxford Summer Courses?

4. The story, by Robert McKee

• "Stories are the creative conversion of life itself into a more powerful, clearer, more meaningful experience. They are the currency of human contact."
• Robert McKee's "Story" is a comprehensive exploration of the principles behind effective storytelling. It's a must-read for anyone looking to understand the structure and elements of compelling narratives during their time at Oxford Summer Courses.
• Discussion: How can the insights from "Story" enhance your ability to construct engaging and impactful stories during your Creative Writing summer school at Oxford Summer Courses?

5. Big Magic, by Elizabeth Gilbert

• "Do whatever brings you to life, then. Follow your own fascinations, obsessions, and compulsions. Trust them. Create whatever causes a revolution in your heart."
• In "Big Magic," Elizabeth Gilbert delves into the creative process and encourages writers to embrace their creativity with courage and curiosity, a valuable lesson during your time at Oxford Summer Courses.
• Discussion: How can Gilbert's philosophy on creativity inspire you to approach your writing with a sense of wonder and daring at Oxford Summer Courses?

6. The Art of Fiction, by John Gardner

• "Fiction seeks out truth. The writer has to go into the dark, quiet spaces of himself and feel around for the truth."
• John Gardner's "The Art of Fiction" offers profound insights into the art and craft of writing fiction. It explores the intricacies of character development, plot, and the writer's role in conveying truth through storytelling during your Creative Writing summer school at Oxford Summer Courses.
• Discussion: How can Gardner's exploration of truth in fiction inform your own creative writing endeavors at Oxford Summer Courses?

7. Writing Down the Bones, by Natalie Goldberg

• "Write what disturbs you, what you fear, what you have not been willing to speak about. Be willing to be split open."
• Natalie Goldberg's "Writing Down the Bones" is a meditative guide to writing practice. It encourages writers to tap into their innermost thoughts and emotions during their Creative Writing summer school at Oxford Summer Courses.
• Discussion: How can Goldberg's approach to writing as a form of meditation help you access deeper layers of creativity in your work at Oxford Summer Courses?

8. The Elements of Eloquence, by Mark Forsyth

• "Rhetoric is the art of dressing up some unimportant matter to fool the audience for the moment."
• "The Elements of Eloquence" explores the art of rhetoric and language play. Mark Forsyth's witty and informative book will inspire you to experiment with language in your writing during your time at Oxford Summer Courses.
• Discussion: How can a deeper understanding of rhetorical devices enhance your ability to craft persuasive and evocative prose at Oxford Summer Courses?

9. Zen in the Art of Writing, by Ray Bradbury

• "Every morning I jump out of bed and step on a landmine. The landmine is me. After the explosion, I spent the rest of the day putting the pieces together."
• Ray Bradbury's "Zen in the Art of Writing" is a collection of essays that celebrate the joy and passion of writing. Bradbury shares his insights on creativity and the writing life during your Creative Writing summer school at Oxford Summer Courses.
• Discussion: How can Bradbury's enthusiasm for writing infuse your own creative process with energy and purpose at Oxford Summer Courses?

10. The Nighttime Novelist, by Joseph Bates

• "Writing is an exploration of the heart."
• "The Nighttime Novelist" by Joseph Bates is a practical guide for writers who balance their craft with busy lives. It offers strategies for maximizing your writing time and making progress on your projects during your time at Oxford Summer Courses.
• Discussion: How can the techniques outlined in "The Nighttime Novelist" help you maintain a consistent and productive writing practice at Oxford Summer Courses?

Oxford Summer Courses invites you to immerse yourself in the enchanting world of creative writing during your time at our summer school. In this blog post, we present a meticulously curated list of 10 classic books that will ignite your imagination and deepen your understanding of the art of storytelling. From Stephen King's practical wisdom in "On Writing" to Ray Bradbury's celebration of the writing life in "Zen in the Art of Writing," these books will serve as your companions on your creative writing journey at Oxford Summer Courses. Through our Creative Writing program, you will have the opportunity to explore these influential texts, share your insights with fellow writers, and refine your craft. Join us on this literary adventure and embark on a transformative experience that will shape your writing skills and inspire your creative spirit during your time at Oxford Summer Courses. Who knows, you might just discover a newfound passion for the art of storytelling and create narratives that resonate with readers for generations to come.

Apply now to join the Oxford Summer Courses Creative Writing summer school and embark on a journey of self-expression and creativity during your time at Oxford Summer Courses. Join a community of passionate writers from around the world and unlock your potential as a storyteller. Apply here.

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The Badger Herald

UW Institute for Creative Writing Fellows present work with Wisconsin Book Festival

The Wisconsin Book Festival hosted the 2023-24 Wisconsin Institute for Creative Writing Fellows Wednesday evening, in collaboration with the University of Wisconsin’s Institute for Creative Writing.

The Wisconsin Institute for Creative Writing Fellows are a group of writers who are provided resources and community while working on their first book of poetry and fiction, according to the UW Creative Writing website . Not only is UW’s environment intended to improve the fellows’ writing skills, but it also provides them opportunities to develop as instructors, the website says.

UW creative writing professor Amy Quan Barry introduced the presenters, touching on the institute’s history — beginning with its founding in 1986 — and how it has developed numerous authors of acclaim.

The 2023-24 Ronald Wallace Poetry Fellow Elijah Bean presented first, reading from several poems, many of which concern ideas of home and reflection on the past. Bean’s poems are linked to memories such as a cramped living room, lawnmowers, dogs and writing alongside someone close to death and aware of their own mortality.

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Following Bean was 2023-24 Carol Houck Smith Fiction Fellow Gothataone Moeng, who read an excerpt from the middle of the first chapter of her upcoming novel. Moeng’s work centered deeply around the meaning of human conversation and explored themes such as why people are drawn to certain others, becoming less ignorant of the world and the idea of possessing a great gift.

The 2023-24 Jay C. and Ruth Halls Poetry Fellow Sadia Hassan presented next, with works heavily focused on the utilization of art as advocacy, and how poems can be written to represent one’s beliefs. The poems Hassan read involved themes such as dreaming, speaking out amongst a crowd and how to best confront the self-obsession that so heavily impacts American society.

Next was Ada Zhang, the 2023-24 James C. McCreight Fiction Fellow, who read from a larger project in progress. Zhang’s work, which revolved around the life of a Chinese congregation moving into Texas and its subsequent role as a safe haven for immigrants, concerned the themes of religion, familial history and matching one’s identity with their family.

Lastly, 2023-24 Hoffman-Halls Emerging Artist Fellow in Poetry Mandy Moe Pwint Tu read from two poems and an excerpt from her novel’s prologue. All three concerned the international student experience, from feeling like an outsider to managing the familial struggle across oceans.

All five of the Creative Writing Fellows showcased their unique styles of writing that earned their positions and will continue to develop their work in Wisconsin and beyond.

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By Kate Knibbs

How One Author Pushed the Limits of AI Copyright

Last October, I received an email with a hell of an opening line: “I fired a nuke at the US Copyright Office this morning.”

The message was from Elisa Shupe, a 60-year-old retired US Army veteran who had just filed a copyright registration for a novel she’d recently self-published. She’d used OpenAI's ChatGPT extensively while writing the book. Her application was an attempt to compel the US Copyright Office to overturn its policy on work made with AI, which generally requires would-be copyright holders to exclude machine-generated elements.

That initial shot didn’t detonate—a week later, the USCO rejected Shupe’s application—but she ultimately won out. The agency changed course earlier this month after Shupe appealed, granting her copyright registration for AI Machinations: Tangled Webs and Typed Words, a work of autofiction self-published on Amazon under the pen name Ellen Rae.

The novel draws from Shupe’s eventful life , including her advocacy for more inclusive gender recognition. Its registration provides a glimpse of how the USCO is grappling with artificial intelligence , especially as more people incorporate AI tools into creative work. It is among the first creative works to receive a copyright for the arrangement of AI-generated text.

“We’re seeing the Copyright Office struggling with where to draw the line,” intellectual property lawyer Erica Van Loon, a partner at Nixon Peabody, says. Shupe’s case highlights some of the nuances of that struggle—because the approval of her registration comes with a significant caveat.

The USCO’s notice granting Shupe copyright registration of her book does not recognize her as author of the whole text as is conventional for written works. Instead she is considered the author of the “selection, coordination, and arrangement of text generated by artificial intelligence.” This means no one can copy the book without permission, but the actual sentences and paragraphs themselves are not copyrighted and could theoretically be rearranged and republished as a different book.

The agency backdated the copyright registration to October 10, the day that Shupe originally attempted to register her work. It declined to comment on this story. “The Copyright Office does not comment on specific copyright registrations or pending applications for registration,” Nora Scheland, an agency spokesperson says. President Biden’s executive order on AI last fall asked the US Patent and Trademark Office to make recommendations on copyright and AI to the White House in consultation with the Copyright Office, including on the “scope of protection for works produced using AI.”

Although Shupe’s limited copyright registration is notable, she originally asked the USCO to open a more significant path to copyright recognition for AI-generated material. “I seek to copyright the AI-assisted and AI-generated material under an ADA exemption for my many disabilities,” she wrote in her original copyright application. Shupe believes fervently that she was only able to complete her book with the assistance of generative AI tools. She says she has been assessed as 100 percent disabled by the Department of Veterans Affairs and struggles to write due to cognitive impairment related to conditions including bipolar disorder, borderline personality disorder, and a brain stem malformation.

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She is proud of the finished work and sees working with a text generator as a different but no less worthwhile method of expressing thoughts. “You don't just hit ‘generate’ and get something worthy of publishing. That may come in the future, but we're still far from it,” she says, noting that she spent upwards of 14 hours a day working on her draft.

After her initial registration was refused, Shupe connected with Jonathan Askin, founder of the Brooklyn Law Incubator and Policy Clinic at Brooklyn Law School, which takes pro bono cases centered on emerging tech and policy questions. Askin and Brooklyn Law student Sofia Vescovo began working on Shupe’s case and filed an appeal with the USCO in January.

The appeal built on Shupe’s argument about her disabilities, saying she should be granted copyright because she used ChatGPT as an assistive technology to communicate, comparing her use of OpenAI’s chatbot to an amputee using a prosthetic leg. The appeal claimed that the USCO “discriminated against her because of her disability.”

The Brooklyn Law appeal also claimed that Shupe should be granted copyright for compiling the book—that is, doing the work of selecting and organizing the snippets of AI-generated text. It provided an exhaustive log of how Shupe prompted ChatGPT, showing the custom commands she created and the edits she made.

It includes a side-by-side comparison of the unedited machine output and the final version of Shupe’s book. On a sentence level, she adjusted almost every line in some way, from changes in word choice to structure. One example describing a character in the novel: “Mark eyed her, a complex mix of concern and annoyance evident in his gaze” becomes “Mark studied her, his gaze reflecting both worry and irritation.”

The appeal cites another recent AI copyright decision about the graphic novel Zarya and the Dawn , which incorporates AI-generated images created with Midjourney. In February 2023, author Kris Kashtanova was granted copyright to the selection and arrangement of AI-generated images in the text, even though they were denied copyright on the specific images themselves.

When the USCO granted Shupe’s request for copyright, it did not address the disability argument put forth but agreed with the appeal’s other argument. Shupe could be considered the author of “selection, coordination, and arrangement of text generated by artificial intelligence,” the agency wrote, backdating her copyright registration to October 10, 2023, the day that Shupe had originally attempted to register her work. That gives her authorship of the work overall, prohibiting unauthorized wholecloth reproduction of the entire book, but not copyright protection over the actual sentences of the novel.

“Overall, we are extremely satisfied,” says Vescovo. The team felt that copyrighting the book’s compilation would provide peace of mind against out-and-out reproduction of the work. “We really wanted to make sure we could get her this protection right now.” The Brooklyn Law team hope Shupe’s approval can serve as a blueprint for other people experimenting with AI text generation who want some copyright protection.

“I’m going to take this as a win for now,” Shupe says, even though she knows that “in some ways, it’s a compromise.” She maintains that the way she uses ChatGPT more closely resembles a collaboration than an automated output, and that she should be able to copyright the actual text of the book.

Matthew Sag, a professor of law and artificial intelligence at Emory University, calls what the USCO granted Shupe “thin copyright”—protection against full-fledged duplication of materials that doesn’t stop someone from rearranging the paragraphs into a different story. “This is the same kind of copyright you would get in an anthology of poetry that you didn’t write,” Sag says.

Erica Van Loon agrees. “It’s hard to imagine something more narrow,” she says.

Shupe is part of a larger movement to make copyright law friendlier to AI and the people who use it. The Copyright Office, which both administers the copyright registration system and advises Congress, the judiciary system, and other governmental agencies on copyright matters, plays a central role in determining how works that use AI are treated.

Although it continues to define authorship as an exclusively human endeavor , the USCO has demonstrated openness to registering works that incorporate AI elements. The USCO said in February that it has granted registration to over 100 works with AI incorporated; a search by WIRED found over 200 copyright registration applications explicitly disclosing AI elements, including books, songs, and visual artworks.

One such application came from Tyler Partin, who works for a chemical manufacturer. He recently registered a tongue-in-cheek song he created about a coworker, but excluded lyrics that he spun up using ChatGPT from his registration. Partin sees the text generator as a tool, but ultimately doesn’t think he should take credit for its output. Instead, he applied only for the music rather than the accompanying words. “I didn’t do that work,” he says.

But there are others who share Shupe’s perspective and agree with her mission, and believe that AI-generated materials should be registrable. Some high-profile attempts to register AI-generated artworks have resulted in USCO refusals, like artist Jason M. Allen’s effort to get his award-winning artwork Théâtre D’opéra Spatial copyrighted last year. AI researcher Stephen Thaler has been on a mission for years to prove that he should be entitled to copyright protections for a work made by the AI system he developed.

Thaler is currently appealing a ruling in the US last year that rebuffed his attempt to obtain copyright. Ryan Abbott, the lead attorney on the case, founded the Artificial Inventor Project , a group of intellectual property lawyers who file test cases seeking legal protections for AI-generated works.

Abbott is a supporter of Shupe’s mission, although he’s not a member of her legal team. He isn’t happy that the copyright registration excludes the AI-generated work itself. “We all see it as a very big problem,” he says.

Shupe and her legal helpers don’t have plans to push the ADA argument further by contesting the USCO’s decision, but it’s an issue that is far from settled. “The best path is probably to lobby Congress for an addition to the ADA statute,” says Askin. “There's a potential for us to draft some legislation or testimony to try to move Congress in that direction.”

Shupe’s qualified victory is still a significant marker in how the Copyright Office is grappling with what it means to be an author in the age of AI. She hopes going public with her efforts will reduce what she sees as a stigma against using AI as a creative tool. Her metaphorical nuke didn’t go off, but she has nonetheless advanced her cause. “I haven't been this excited since I unboxed a Commodore 64 back in the 1980s and, after a lot of noise, connected to a distant computer,” she says.

Updated 17-4-2024, 4:35 pm EDT: President Biden's executive order on AI last year asked the US Patent and Trademark office to make recommendations on copyright and AI in consultation with the Copyright Office, it did not ask the Copyright Office itself to make the recommendations.

Updated 18-4-2024, 9 am EDT: This piece has been updated to clarify Stephen Thaler's position on AI system copyright.

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Blowing the whistle on sexual harassment and assault in Antarctica

The earth will feast on dead cicadas

Upgrading your Mac? Here’s what you should spend your money on

Kate Knibbs

Benj Edwards, Ars Technica

Steven Levy

Kathy Gilsinan

Matt Burgess

Lauren Goode

Morgan Meaker

Louise Matsakis