Free Ebook Stein on Writing: A Master Editor Shares His Craft, Techniques, and Strategies
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Stein on Writing: A Master Editor Shares His Craft, Techniques, and Strategies
Free Ebook Stein on Writing: A Master Editor Shares His Craft, Techniques, and Strategies
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Audible Audiobook
Listening Length: 11 hours and 17 minutes
Program Type: Audiobook
Version: Unabridged
Publisher: Blackstone Audio, Inc.
Audible.com Release Date: June 9, 2004
Language: English, English
ASIN: B0002P0DAK
Amazon Best Sellers Rank:
Whether you're an advanced writer or a beginner, you can get a lot of information by studying this book, though really, I think Stein On Writing is more geared toward the serious side of writing. Mr. Stein leads the reader through a plethora of pitfalls and landmines that writers must traverse if they're to come out safely on the other side and he does it with flair and examples.
Holy Stein! When's the last time you picked up a book and learned something within the first 15 or 20 minutes? This book did that for me.In fact, I was scribbling and highlighting like a nine year old within minutes of cracking the paperback.Biggest Take away? His description on SHOW ME DON'T TELL ME is the best I have read to date.Are you a writer? Then, stop what you're doing, and order this book today. It will open your eyes and mind in a fresh way. Oh, before you think I'm an exaggerator, let me say that there are a few spots where I glazed over and started skimming. But that was because he was making a point, telling you the point he was going to make, then made, and reiterated the point he had made.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!Stein On Writing: A Master Editor of Some of the Most Successful Writers of Our Century Shares His Craft Techniques and Strategies
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.
If you have ambitions of being a novelist or other type of writer, this is the very first book you should read, and make it the bedrock of you craft. There are simply no better books on writing out there. This book covers both fiction and nonfiction writing, but as the author says the principles of writing well are pretty much the same in both genres. Stein (author) has an additional instructional that addresses fiction writing only, called How to Grow a Novel.Author's qualifications? He had his own publishing company for decades, and he edited and published some of the greatest novels of the 20th century. When he finally turned to writing his own fiction, every title he put out was acclaimed and a best seller. There are no better qualifications than that for being a writing coach. If you've always wanted to try your hand at writing, this book will help you get up from the couch and sitting at your desk instead.
One of the best I've read, if not the very best. Cheers, Sol Stein, for sharing your wisdom!One caveat: it is primarily targeted at fiction writers. While there are a few sections on writing nonfiction, I'd recommend supplementing this book with something else if that is your genre.
Bought this after finishing a first draft of my first book. I now realize I have a lot of revisions to do, but I'm glad I read it. I was resisting editing my book due to a lack of direction, but this book helped me get over that resistance by giving me a manageable path to self-editing.Recommend reading BEFORE you start writing a book to avoid doing a complete overhaul of a first draft!
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