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Stein On Writing: A Master Editor of Some of the Most Successful Writers of Our Century Shares His Craft Techniques and Strategies Paperback – January 25, 2000

4.7 out of 5 stars 797 ratings

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Stein on Writing provides immediately useful advice for all writers of fiction and nonfiction, whether they are newcomers or old hands, students or instructors, amateurs or professionals. As the always clear and direct Stein explains here, "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 bestsellers as well as from students' drafts, Stein offers detailed sections on characterization, dialogue, pacing, flashbacks, trimming away flabby wording, the so-called "triage" method of revision, using the techniques of fiction to enliven nonfiction, and more.
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Editorial Reviews

Amazon.com Review

"The best reading experiences," says Sol Stein, "defy interruption." With Stein's assistance, you can grab your reader on page 1 and not let go until "The End." Stein--author of nine novels (including the bestselling The Magician) and editor to James Baldwin, W.H. Auden, and Lionel Trilling--offers "usable solutions" for any writing problem you may encounter. He is authoritative and commanding--neither cheerleader nor naysayer. Instead, he rails against mediocrity and demands that you expunge it from your work. Perhaps the concept of scrutinizing every modifier, every metaphor, every character trait sounds like drudgery. But with Stein's lively guidance, it is a pleasure. Stein recommends that you brew conflict in your prose by giving your characters different "scripts." He challenges you, in an exercise concerning voice, to write the sentence you want the world to remember you by. He uses an excerpt from E.L. Doctorow to demonstrate poorly written monologue and a series of Taster's Choice commercials as an example of dialogue that works. Stein's bottom line is that good writing must be suspenseful. Your job, says Stein, "is to give readers stress, strain, and pressure. The fact is that readers who hate those things in life love them in fiction." --Jane Steinberg

Review

“The best book on writing that I have read . . . The tips, shortcuts, and plentiful examples of good writing versus bad cannot fail to every writer, no matter at what stage he finds himself.” ―Barnaby Conrad, author of Matador and Learning to Write Fiction from the Masters

“Stimulating . . . Offers a banquet of savvy advice. Unlike Anne Lamott, et al., Stein aims not to help his readers wrestle with writerly anguish; rather, he gets on the page, citing examples from writers famous and fledgling, closely analyzing first sentences, creation of character, plotting, and dialogue . . . Stein concentrates more on fiction--point of view and the creation of love scenes--but his advice on such issues as self-editing and choosing a title applies also to nonfiction. A section on nonfiction contains worthy remarks about adapting fictional techniques (suspense, visual particularity, etc.).” ―
Publishers Weekly

“This book can jump-start anyone's creativity. Highly recommended for all writing collections.” ―
Library Journal

“My publisher Sol Stein was my producer, and editor Sol Stein was my director. Stein saw what I didn't think possible.” ―
Elia Kazan

“[Stein] went over my manuscript with an ifallible eye for the soft spots in my prose, giving me one of the best editorial readinds I've ever had.” ―
Lionel Trilling

Product details

  • Publisher ‏ : ‎ St. Martin's Griffin; First Edition (January 25, 2000)
  • Language ‏ : ‎ English
  • Paperback ‏ : ‎ 320 pages
  • ISBN-10 ‏ : ‎ 0312254210
  • ISBN-13 ‏ : ‎ 978-0312254216
  • Item Weight ‏ : ‎ 12.8 ounces
  • Dimensions ‏ : ‎ 6.15 x 0.85 x 9.2 inches
  • Customer Reviews:
    4.7 out of 5 stars 797 ratings

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Customer reviews

4.7 out of 5 stars
797 global ratings

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Customers say

Customers find this writing book excellent, with clear ways to improve their craft and useful examples throughout. Moreover, the book is considered a must-read for every writer, praised for its conciseness and readability, with one customer noting it's a living seminar. Additionally, customers appreciate the storytelling quality, with exact examples provided, and the book's solid core and rapid pace make it worth the money.

AI-generated from the text of customer reviews

116 customers mention "Writing advice"111 positive5 negative

Customers find the book excellent for writing advice, providing clear ways to improve and serving as a valuable resource for new writers. One customer compares it to taking a refresher writing class.

"...MAYBE. Stein on Writing does not mess around. It is a technical manual, craft-oriented, and if you so choose to metaphorically strap it..." Read more

"...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...." Read more

"...The literary values here are irresistible. Highly recommended. Paula Cappa is an avid book reviewer and an award-winning supernatural mystery author." Read more

"...writer under his wing and attempts to show him/her a clearer path to good writing. “..." Read more

91 customers mention "Information quality"91 positive0 negative

Customers find the book's information quality positive, being full of useful insights and loaded with advice, with one customer noting how it explains the importance of the content.

"...Whether you're writing fiction or nonfiction, his insights are spot-on, particularly when it comes to clarity and engagement—cornerstones for..." Read more

"...is a jump-start for your creativity and an inspiration to improve the quality of your work...." Read more

"...some of the helpful chapters, as well as the short but important “Tapping Your Originality.”..." Read more

"...STEIN ON WRITING is precise information, right to the point with useful examples. The language isn't over the top...." Read more

74 customers mention "Readability"74 positive0 negative

Customers find the book highly readable, describing it as a must-read for every writer and a good addition to writing libraries, particularly suitable for beginners.

"...tighten, refine, repeat, until you’ve produced polished, professional work. Make no mistake, this is no dry tome...." Read more

"...one will go front and center for easy reach because it’s a perfect reference book on how to fix your writing problems, flaws, and weaknesses...." Read more

"I really enjoyed this book, as well as Stein’s How to Grow a Novel...." Read more

"Stein's book takes "good" writing to "excellent literature" by contrasting unedited and edited examples: many, many examples...." Read more

29 customers mention "Clarity"24 positive5 negative

Customers appreciate the book's clarity, finding it concise and well-explained, with one customer noting it serves as a living seminar.

"...his insights are spot-on, particularly when it comes to clarity and engagement—cornerstones for holding a reader's attention...." Read more

"...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...." Read more

"...Backstory, flashbacks, show vs. tell, and revisions are instructive chapters that will show writers their weak spots and how to correct them...." Read more

"...Best book on structure I've read so far. Read both. You can't go wrong." Read more

20 customers mention "Storytelling quality"18 positive2 negative

Customers appreciate the storytelling quality of the book, noting that it provides exact examples of good writing and is brilliant, with one customer highlighting its focus on particularity.

"...STEIN ON WRITING is precise information, right to the point with useful examples. The language isn't over the top...." Read more

"...I loved reading about particularity, though, as it resonated so well with the lack I’ve spotted in my own attempts at fiction." Read more

"...This book is full of secrets and basics all writers should be aware of...." Read more

"...It has moved our projekts forward and we want to thank Stein for the help. We really recommend it for writer, who is not so experienced...." Read more

8 customers mention "Sturdiness"8 positive0 negative

Customers find the book's content solid and credible.

"...words are not wasted because they make the experience possible and credible. (My favorite part: "Of course you have.")..." Read more

"...dated (mainly about technology and word processors) but the core of the book is solid and useful to read for fiction and non-fiction writers..." Read more

"The book was as advertised, in prime condition, and delivery was Amazon." Read more

"...It's a solid go-to resource." Read more

7 customers mention "Pacing"7 positive0 negative

Customers find the pacing of the book engaging and entertaining, describing it as a rapid read.

"...on key elements of effective writing, including structure, dialogue, pacing, and character development...." Read more

"...The content is a jump-start for your creativity and an inspiration to improve the quality of your work...." Read more

"...All in all, it's a swell, engaging and rapid read that's chock full of useful insight. It's a Must Have for any author! [..." Read more

"...The chapter on resonance was somewhat interesting, but I could not relate to most of the examples Sol presented...." Read more

6 customers mention "Value for money"6 positive0 negative

Customers find the book worth the money.

"...But, Sol has a unique perspective on this and it is worth spending time with this book...." Read more

"...All that said, it was worth my purchase, I read it cover to cover, and I gleaned a lot of useful information from the book." Read more

"...I can't tell you how big a help this book was. Well worth the price." Read more

"...You will want to remember everything! The value of this book cannot be overestimated. Authors should re-read it between every book they write...." Read more

Extremely Helpful to Writers
5 out of 5 stars
Extremely Helpful to Writers
While revising my memoir, I devoured Stein on Writing: A Master Editor of Some of the Most Successful Writers of Our Century Shares His Craft Techniques and Strategies. Novelist, editor, and teacher, Sol Stein's book is enormously helpful. His chapters on first sentences and paragraphs, characterization, how actors develop drama, suspense, dialogue, flashbacks, particularity, love scenes, and liposuctioning flab were especially helpful. I learned a lot from how he presented before-after revisions from well known writers and his own work to demonstrate methods.My process was, I read a chapter, applied his advice to certain scenes, then read another chapter and returned to the manuscript. I checked out the audio and hard copy of his book from our library, but soon decided to order my own copy to keep at hand for future writing projects. If you're writing fiction especially or nonfiction, check it out!
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Top reviews from the United States

  • Reviewed in the United States on October 9, 2024
    TWO CRAFT BOOKS IN ONE MONTH? What am I, some sort of literary addict, jonesing for another hit of structure and plot?

    MAYBE.

    Stein on Writing does not mess around. It is a technical manual, craft-oriented, and if you so choose to metaphorically strap it on your back and hike through the wilds of your words, does it ever deliver. Stein offers actionable advice on key elements of effective writing, including structure, dialogue, pacing, and character development. Whether you're writing fiction or nonfiction, his insights are spot-on, particularly when it comes to clarity and engagement—cornerstones for holding a reader's attention.

    Stein emphasizes “particularity,” (my new favorite word), and guides writers on crafting and revising prose. This is not a book of vague inspiration, abstract advice, or “fix the commas” or “cut adverbs” suggestions. The method is clear and pragmatic: shape your writing, tighten, refine, repeat, until you’ve produced polished, professional work.

    Make no mistake, this is no dry tome. Stein practices what he preaches, often with great wit, as evidenced by gems like:

    "Thou shalt not saw the air with abstractions."

    "One plus one equals a half."

    Too often, advice at this point in my career feels mushy, repetitive, or feasibly addressed by a simple search-and-replace. Stein’s book demands more of us as architects of meaning. This is about our responsibility for the reader’s experience, forcing us to organize our thoughts clearly on the page.

    This one also earned a place on my “Easy to Reach Craft Book Pile”
    One person found this helpful
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  • Reviewed in the United States on June 22, 2012
    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 280 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.

    NARRATOR:
    Christopher Lane is excellent.

    DATA:
    Unabridged audiobook reading time: 11 hrs and 16 mins. Swearing language: one instance of the word s*** (as I recall). Sexual content: none. Book copyright: 1995. Genre: nonfiction, how to write.
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  • Reviewed in the United States on March 17, 2020
    “The pleasures of writer and reader are interwoven.” This is the essential thought that is threaded throughout this book for both fiction and nonfiction. Many writers often fail to focus on the reader while they are in the process of writing. Stein instructs the writer how to make “the reader,” as he puts it, “King.” I probably have 30 writing books on my shelf and this one will go front and center for easy reach because it’s a perfect reference book on how to fix your writing problems, flaws, and weaknesses. The content is a jump-start for your creativity and an inspiration to improve the quality of your work. I liked Stein’s perspectives on “keeping the story visible and on stage” to give readers a sense of immediacy. He addresses at length character desire and motivation and how that creates plot that will keep the reader in suspense. His explanation on the omniscient voice and the pitfalls will help any writer who wants to develop a memorable narrator. Backstory, flashbacks, show vs. tell, and revisions are instructive chapters that will show writers their weak spots and how to correct them. And his ending? Stein’s Ten Commandments for Writers. Here’s one of them: “Thou shalt not vent thy emotions onto the reader, for thy duty is to evoke the reader’s emotions, and in that most of all lies the art of the writer.” The literary values here are irresistible. Highly recommended. Paula Cappa is an avid book reviewer and an award-winning supernatural mystery author.
    15 people found this helpful
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  • Reviewed in the United States on June 18, 2013
    I really enjoyed this book, as well as Stein’s How to Grow a Novel. In On Writing, he takes the struggling writer under his wing and attempts to show him/her a clearer path to good writing. “How to Show Instead of Tell,” “Choosing a Point of View,” “Flashbacks: How to Bring Background to the Foreground,” are just some of the helpful chapters, as well as the short but important “Tapping Your Originality.” I would recommend both of Stein’s books if you are a writer wanting to hone your craft. Having been a playwright and publisher for several years, Stein knows his subject matter, but the books don’t stand alone. I will be on the lookout for others of this nature that will build on his knowledge and the somewhat elusive technique of writing well.
    3 people found this helpful
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Top reviews from other countries

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  • Moniek
    5.0 out of 5 stars Non ancora letto
    Reviewed in Italy on December 30, 2021
    Il libro è nuovo, in ottimo stato. Ancora da consultare...
    Report
  • Jonathan T.
    5.0 out of 5 stars A classic for authors.
    Reviewed in Brazil on November 3, 2016
    Stein on writing is a must for any writer who wishes to learn the craft. It makes things easier for everyone.
  • Juan C. Cordovez
    4.0 out of 5 stars almost perfect
    Reviewed in France on February 19, 2015
    The one subject I would have enjoyed reading the most, would have been how to develop and construct a plot. He touches on this subject, but I think that it needs to be much more thoroughly addressed. A systematic approach would have been useful.

    If you are reading this book,it's because the author has something to teach you. You should not be surprised to learn that he is better than you. So for some reviewers this has been a problem. They accuse him of solipsism. But the target audience is novice writers, so he can take that tone. That he quotes his own work is a matter of convenience.

    Some advice may be very basic: "show don't tell" should be well ingrained in anyone who has already started writing. But the compounded amount of information is helpful.
  • Kindle Customer
    5.0 out of 5 stars For Writers!
    Reviewed in India on October 12, 2019
    A must read for every writer, no matter if she is experienced or a beginner. It's full of guidance and examples to show the ways to improve your manuscript.
  • SK
    5.0 out of 5 stars Every writer should read this at least once
    Reviewed in the United Kingdom on December 14, 2016
    This is my second time studying this book, and it won't be the last. Sol Stein is a master of his craft, and even applying a fraction of what he teaches has to improve any kind of writing. The examples he uses to demonstrate his points are inspiring. Some may be from his own novels, but that only proves he practises what he teaches.
    This is not a book about grammar but about style and making an emotional impact with the reader. It makes you reconsider every word you wrote and motivates you to make it sparkle.
    I've read many books on writing, but if I could keep just one, this would be it.