Stein on Writing

A Master Editor Shares His Craft, Techniques, and Strategies

De: Sol Stein

Narrado por: Christopher Lane

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

Must Have

Now that I have listened to this book I will have to buy a hard copy. There was not enough room on my MP3 player for all of the bookmarks. This is a book you will want to dog ear.

A Classic

Sol Stein’s On Writing is a classic that still speaks. Sol shares his experiences as a successful editor in a clear, methodical, and applicable manner. Though primarily written for fiction authors, the book is also relevant for non-fiction authors. In fact, he points out at the beginning what chapters apply to each group. Even though I am primarily interested in non-fiction, I found the entire book very interesting, filled with great examples, analyses based on published texts, many of which were edited by Sol himself. Listening to the insights of an editor with his experience is priceless info. If you are serious about writing, this book is a must. Narration is exceptional and easy to follow.

must have for the would be author

If you aspire to be a published author or already are, this book and audio is an absolute necessity. Solstien shares his wisdom and experiences as one of the most renowned editor and successful author of our time.

Stein On Writing

The man knows the writers trade as editor and author. He delivers useful techniques wrapped in a flu9d narration that has enough humor folded in to move the narrative along at a nice pace.

Essential book for any writer

Would you consider the audio edition of Stein on Writing to be better than the print version?

I enjoy the audio version because I can listen to it on my iPod while doing chores. I am beginning my second pass through the book right now!

Have you listened to any of Christopher Lane’s other performances before? How does this one compare?

I have not heard Christopher Lane before but he is a fine a voice performer as you can get! His reading of this book was perfect, in my estimation.

What’s an idea from the book that you will remember?

I found his application of fiction writing techniques to non-fiction a revelation. I am a documentary filmmaker and often write the voice over for my films. This book has transformed the way I view that task.

Any additional comments?

Every writer MUST read this! Even if you do not aspire to become a writer, listening to this book will enhance your enjoyment of good writing.

A master communicator

What made the experience of listening to Stein on Writing the most enjoyable?

Solid stories about the real world.

Who was your favorite character and why?

Sol, of course.

What about Christopher Lane’s performance did you like?

Didn't get tired of his voice. Listened on a three hour drive, back and forth.

Was there a moment in the book that particularly moved you?

no

You go, Sol!

Would you listen to Stein on Writing again? Why?

I most certainly will listen to this book again. Stein has enlightened me on what makes a great book great.

What was one of the most memorable moments of Stein on Writing?

Stein makes it personal, using stories from his own experience. He also uses examples from literature, which are readily known and/or accessible. He shows instead of tells, which is one of the basic premises.

Which character ??? as performed by Christopher Lane ??? was your favorite?

This is not fiction. The only

What???s an idea from the book that you will remember?

That's just it...this entire book is worth remembering. When I think I'm starting to forget, I will re-listen.

great

I have been going through a dry spell and this is what I needed

Great resource!

Spell-binding, with deep insight into the human condition; valuable resources for the aspiring writer. Thank you!

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.