Stein on Writing

A Master Editor Shares His Craft, Techniques, and Strategies

By: Sol Stein

Narrated by: Christopher Lane

Length: 11 hrs and 17 mins

Publisher's summary

Stein on Writing provides immediately useful advice for writers of fiction and nonfiction, whether newcomers or accomplished professionals. As Sol Stein, renowned editor, author, and instructor, explains, "This is not a book of theory. It is a book of usable solutions, how to fix writing that is flawed, how to improve writing that is good, how to create interesting writing in the first place." With examples from his best sellers as well as aspiring students' writing, Stein offers detailed sections on characterization, dialogue, pacing, flashbacks, liposuctioning flab, the "triage" method of revision, using the techniques of fiction to enliven nonfiction, and more.

©1995 Sol Stein (P)2003 Blackstone Audiobooks

So much to learn!

Sol Stein with his years of study and practice make this book very valuable for anyone interested in writing or communicating with other people in direct effective and in intriguing ways, (with least amount of unnecessary words required to do so)! I recommend this book to anyone interested in being a better communicator in every way imaginable!
Thanks for reading my review!
Bye for now.

Excellent material for writers

I loved the content and performance. I wish I had found this when I first started writing.

Tons of useful advice

Where does Stein on Writing rank among all the audiobooks you’ve listened to so far?
This book kept me from reinventing the wheel. The audio format was useful.

What does Christopher Lane bring to the story that you wouldn’t experience if you just read the book?
I felt like I was at one of Sol's writers clinics.

What’s an idea from the book that you will remember?
People read to escape; don't bore them with the mundane.

Any additional comments?
I think my writing has improved after listening to this treatise.

great

well written and performed. hopefully it will improve my writing :-). I enjoyed it and will go out and buy the

New writer

Comprehensive book for all writers. Very long but really a very useful handbook for anyone wanting to master the craft of writing.

Everything you need to be a successful writer is in this book.

Stein covers all aspects of writing in his best selling book. I especially like the checklist to use when revising your work, because it goes over everything he teaches in the book. Stein goes into great detail about characters, plot, particulars, diction, flab, getting published and so much more. If you follow the guidance of Stein you will be a successful writer. A must have book for every writer. Sort of like an encyclopedia or guide to writing. Definitely one to have on your shelf to refer to at anytime.

The best book to authors (especially fiction)

Simply the best book I've read on the craft off writing (and I've read dozens).

A writer’s guide to artistry

Mr. Stein is a must in any writers arsenal. His knowledge is all encompassing and no matter what your level of writing, your finished pages will benefit from this. My next step is to find and purchase a hardcopy for continued reference and accessibility.

I won’t bore you with my words except to say: he is a master of how one can make words come to life. He doesn’t stop there though, he details the process to getting finished writings to publishers and bookshelves.

Mr. Stein, thank you!

Golden Content -Tinny Audio

Will be listening to this many times, but thank the makers of aftermarket bass boosting equalizer software. I would have stopped assaulting my ears with the high-treble recording early in the reading had I not enhanced it with such a product.

The high value the content provides deserves a more expert ear in the final recorded product than that which this amazing guidebook received.

Excellent advice and examples for better writing.

Stein is an author, editor, and publisher. His advice is geared toward fiction, with some thoughts for nonfiction. I am a reader and reviewer of books, not a writer. I have strong likes and dislikes about books I’ve read. I’m reading some “how to write books” to see if I agree with the experts. I’m delighted to say that writers who follow Stein’s advice will very likely make me happy when reading their books. I am more liberal than Stein in two areas: the first three pages of a book and his fifth commandment. Scenes that end prematurely are a subject Stein did not discuss, but I believe he would agree with me.

ADJECTIVES, ADVERBS, & FLAB:
For a while now I have been confused when I hear people say “cut adverbs.” I’ve loved some colorful writing that adverbs produce. I made a list of wonderful sentences with adverbs written by J.K. Rowling, John Grisham, and Georgette Heyer. I recently read three Hemingway short stories and noticed a lot of adjectives and adverbs in two of them. That intrigued me because he is famous for concise writing. Stein is the first expert who explains this subject to my satisfaction. Although he recommends cutting most adjectives and adverbs, he gives examples showing when they are valuable. I like his view. Stein and I both like the following paragraph which is full of adjectives and adverbs. Although a novel filled with this should probably be labeled poetry rather than fiction. Still it shows the emotional and sensual ability of adjectives and adverbs. Stein calls it “a nearly perfect paragraph.” It was written by a student of his, Linda Katmarian.

“Weeds and the low hanging branches of unpruned trees swooshed and thumped against the car while gravel popped loudly under the car’s tires. As the car bumped along, a flock of startled blackbirds exploded out of the brush. For a moment they fluttered and swirled about like pieces of charred paper in the draft of a flame and then were gone. Elizabeth blinked. The mind could play such tricks.”

Stein says “She’s breaking rules. Adjectives and adverbs which normally should be cut are all over the place. They’re used to wonderful effect because she uses the particular sound of words ‘the low hanging branches swooshed and thumped against the car. Gravel popped. Startled blackbirds exploded out of the brush. They fluttered and swirled.’ We experience the road the car is on because the car ‘bumped’ along. What a wonderful image. ‘The birds fluttered and swirled about like pieces of charred paper in the draft of a flame.’ And it all comes together in the perception of the character ‘Elizabeth blinked. The mind could play such tricks.’ Many published writers would like to have written a paragraph that good. That nearly perfect paragraph was ...”

Another example. Stein does not like the sentence “What a lovely, colorful garden.” Lovely is too vague. Colorful is specific therefore better; but lovely and colorful don’t draw us in because we expect a garden to be lovely or colorful. There are several curiosity provoking adjectives you might use. If we hear that a garden is curious, strange, eerie, remarkable, or bizarre, we want to know why. An adjective that piques the reader’s curiosity helps move the story along.

Stein says when you have two adjectives together with one noun, you should almost always delete one of the adjectives. He also recommends eliminating the following words which he calls flab: had, very, quite, poor (unless talking of poverty), however, almost, entire, successive, respective, perhaps, always, and “there is.” Other words can be flab as well.

PARTICULARITY (attentiveness to detail):
I love the following comparison. “You have an envelope? He put one down in front of her.” This exchange is void of particularity. Here’s how the transaction was described by John LeCarre. “You have a suitable envelope? Of course you have. Envelopes were in the third drawer of his desk, left side. He selected a yellow one A4 size and guided it across the desk but she let it lie there.” Those particularities ordinary as they seem help make what she is going to put into the envelope important. The extra words are not wasted because they make the experience possible and credible. (My favorite part: “Of course you have.”)

FLASHBACKS AND SCENES THAT END PREMATURELY:
Stein discourages flashbacks. He says they break the reading experience. They pull the reader out of the story to tell what happened earlier. Yay! I agree! I don’t like them either.

I don’t recall Stein discussing “ending scenes prematurely,” but I think (or hope) he would agree with me that they also “break the reading experience.” For example, Mary walks into a room, hears a noise, and is hit. The next sentence is about another character in another place. Many authors do this to create artificial suspense. It makes me angry, and my anger takes me out of the story because I’m thinking about the author instead of the characters. You can have great suspense without doing this. Stein says “The Day of the Jackal” is famous for use of suspense. The scenes in that book have natural endings.

FIRST THREE PAGES OF A BOOK MAY NOT BE AS CRITICAL AS THEY USED TO BE:
Stein said a “book must grab the reader in the first three pages or they won’t buy the book.” This was based on studies watching customers in book stores. They looked at the jacket and then the first one to three pages. They either put it back or bought it. I think the internet changed things by providing customer reviews. I buy around 240 books a year. I never buy a book based on the first three pages. My decision to buy is based on customer reviews and/or book jacket summaries. I suppose the first three pages might still be important for customers in physical stores like Barnes & Noble and Walmart. But today we have books that become best sellers as ebooks and subsequently are published in paperback, for example Fifty Shades of Grey. Bloggers and reviewers spread the word, not bookstore visitors.

STEIN’S TEN COMMANDMENTS FOR WRITERS:
I’ve edited for brevity and to remove thou shalt’s.

1. Do not sprinkle characters into a preconceived plot. In the beginning was the character. (I like this, but I also think Stephen King has a good idea - something to try. He creates a “situation” first, then the characters, and last the plot.)

2. Imbue your heroes with faults and your villains with charm. For it is the faults of the hero that bring forth his life, just as the charm of the villain is the honey with which he lures the innocent.

3. Your characters should steal, kill, dishonor their parents, bear false witness, and covet their neighbor’s house, wife, man servant, maid servant, and ox. For readers crave such actions and yawn when your characters are meek, innocent, forgiving, and peaceable. (I love this.)

4. Avoid abstractions, for readers like lovers are attracted by particularity.

5. Do not mutter, whisper, blurt, bellow, or scream. Stein prefers using “he said.” (I’m not sure about this one. I like hearing these words. Maybe in moderation?)

6. Infect your reader with anxiety, stress, and tension, for those conditions that he deplores in life, he relishes in fiction.

7. Language shall be precise, clear, and bear the wings of angels for anything less is the province of businessmen and academics and not of writers. (I assume this includes cutting adjectives, adverbs, and flab - but keep the good ones.)

8. “Thou shalt have no rest on the sabbath, for thy characters shall live in thy mind and memory now and forever.” (I’m not sure how this is advice to writers.)

9. Dialogue: directness diminishes, obliqueness sings.

10. Do not vent your emotions onto the reader. Your duty is to evoke the reader’s emotions.


OTHER IDEAS:
Do not write about wimps. People who seem like other people are boring. Ordinary people are boring.

Cut cliches. Say it new or say it straight.

If not clear who is speaking put “George said” before the statement. If it is clear, put “George said” after or eliminate “George said.”

Don’t use strange spellings to convey dialect or accents.

Book copyright: 1995.
Genre: nonfiction, how to write.