Stein on Writing

  • by Sol Stein
  • Narrated by Christopher Lane
  • 11 hrs and 16 mins
  • Unabridged Audiobook

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.


See More Like This

Customer Reviews

Most Helpful

Excellent Content and Listen

This is, so far, the best book I've consumed about writing. Stein's advice is practical and his experience as an editor shows in every sentence and paragraph - yet he uses a humble tone. He successfully includes plenty of examples to clearly get across each point. The book is interesting, lively, extremely well paced and hard to put down. If you are a beginning writer, in fiction genre or nonfiction genre, Stein has real answers for all. He gives the listener concrete niches in which to place information and lessons about writing. He takes you by the hand and shows, while telling, and instead of creating MORE anxiety and insecurity about writing, which is what I have found many writing books end up doing, Stein eases the effort of creating on the page. I listened to this book every chance I had and have already ordered a hard copy. I also ordered some of his novels because this title was so well done. Finally, I cannot say too much about the incredible narration of the book by Christopher Lane who didn't get in the way of the material but in a professional and sincere voice imparted what was on the pages as though he himself had written the book. You cannot go wrong with this title.
Read full review

- ddsharper

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.

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.”)

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.

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.

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.

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.
Read full review

- Jane

Book Details

  • Release Date: 06-09-2004
  • Publisher: Blackstone Audio, Inc.