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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

Sol Stein

4.22 · Rating details · 3,060 Ratings · 302 Reviews

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 ...more

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Paperback, 320 pages

Published January 25th 2000 by St. Martin's Griffin (first published 1995)

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Feb 10, 2011 Chris Blocker rated it it was amazing

Sol Stein is pompous. If I judge correctly from his writing, he is a curmudgeon with a serious personality defect. His view is very narrow and it is the only right view. I wouldn't want to be his friend, his client, or even his trashman. I was not impressed with Stein.

That being said, Stein does know something (not everything) when it comes to writing. Though there were times during my read of Stein on Writing when I wanted to fling the book across the room, there were more instances where I jot Sol Stein is pompous. If I judge correctly from his writing, he is a curmudgeon with a serious personality defect. His view is very narrow and it is the only right view. I wouldn't want to be his friend, his client, or even his trashman. I was not impressed with Stein.

That being said, Stein does know something (not everything) when it comes to writing. Though there were times during my read of Stein on Writing when I wanted to fling the book across the room, there were more instances where I jotted down helpful notes and immediately followed his advice. The results were amazing. Stein says cut “had” so I cut “had” from my manuscript. He's right! He says get rid of the adverbs, so I did. Over and again, I found Stein's simple rules to have a significant effect on my own manuscript. Rarely does he justify his reasoning—he doesn't have to, he's “a master editor of some of the most successful writers of our century”—but he's often right. Sure, you have to listen to his rants about how brilliant he and his students are—really, they're not—but in the end, it's worth it.

If you choose to read this book, it's important you know what you're getting into. First, know that Stein doesn't like you. He's not going to like your book. Your idea isn't original and your voice never was. He doesn't like the way you bake cookies. If you own a cat, he's a dog person. Own a dog and, well, cats aren't so bad after all.

Next, know that Stein feels no need to explain himself and that some of his examples are absurd. Perhaps I shouldn't say this about a “master editor,” but sometimes Stein is just way off. Take a look at the following examples, and please let me know if I'm missing something:

As an example of how to begin a piece of fiction, Stein recommends the story “The Eighty-Yard Run.” Stein writes, “See how much Irwin Shaw accomplished in the first sentence.” He never explains what it is that we're supposed to see in this passage, so it is up to the reader. Let's take a look at the passage: “The pass was high and wide and he jumped for it, feeling it slap flatly against his hands, as he shook his hips to throw off the half-back who was diving at him.” That's it. That's the brilliant opening sentence. What exactly “hooks” us in this sentence? Does Shaw really convey as much as Stein argues? Well, we know that we're entering right in the middle of action—a football game. The focal character is receiving the ball. The quarterback's throw was a little off. We know the receiver has hands, and that they're capable of feeling. We know that another player is diving at him. And that the receiver is trying to shake him off. Most important, we learn the receiver can jump and has hips. I make fun, but do you see my point? I repeat Stein's set-up for this passage: “See how much Irwin Shaw accomplished in the first sentence.” Sorry, Sol, I don't see it.

Stein argues that his examples excite the reader's curiosity, introduce a setting, and lend resonance to the story. They should tell as much as possible in as short a space as possible. He also argues that great opening sentences should be unusual or shocking. I have no problem with Stein's ideas of what makes a great opener. He is right on. But how exactly does this sentence exemplify these principles? It is certainly vivid in its tight space. It's pretty clear what is happening too. Otherwise, in my opinion, it's a dud. It's a football game. The characters are doing what's expected. There is nothing revealing or hooking about this sentence. Unless you're a huge fan of football, I see no reason to continue reading “The Eighty-Yard Run.”

One more, and then I'll get off my soapbox. Stein writes, “A layman might say, 'Ellen looked terrific in her gown.' That's top-of-the-head writing, which can be improved: 'In her gown, Ellen looked like the stamen of a flower made of silk.'” Stein goes on to say that the first sentence “doesn't say anything particular about either Ellen or the gown.” He's right there. It's not the most revealing sentence. “The second is visual,” Stein argues, “and tells us how Ellen and the gown came across in a way that made them both look good.” “Ellen looked like the stamen of a flower made of silk.” Really? First of all, I think the simile is wordy and confusing. Why not just say “the stamen of a silk flower.” Secondly, a “flower made of silk” does not make me think she “looks good.” It makes me think she's fake, pretentious, cheap, etc. And, finally, the stamen of a silk flower? What does this mean? She's slender? She's the representation of a reproductive organ? This is the advice of “a master editor”? A student writing this in undergrad would be torn apart. Hell, published authors would be ridiculed for this line.

(This is where I welcome taunting for my ignorance. If I have really misunderstood the brilliance of these lines, please gently let me know.)

So, my advice is to take Stein on Writing with a grain of salt, but if you're a student of writing, do read it. When Stein makes a point, he makes it well. It is the single most helpful craft book I have read. So much so that I hope someday to reread it. I'll still want to fling it across the room (if I own my own copy, I probably will), but I know I'll be a better writer for having made the small sacrifice. ...more

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Jun 22, 2012 Jane Stewart rated it it was amazing · review of another edition

Shelves: nonfiction, how-to-write, 5-star-nonfiction

Excellent advice and many 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 t ...more

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Dec 10, 2010 Charlie rated it really liked it

I have not found many books about the craft that I want to read. Most of what I have seen of the "how to write" genre is focused on overcoming personal and emotional insecurities and the variety of techniques writers use for staying with the "pen and page", or sticking to the work (wow, get obsessed, drink more coffee and abandon having a real social life, and boom, no more writer's block.) Stein goes much deeper and so I have yet to put him down. For one, he focuses more on the reader's experie ...more

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Oct 07, 2017 Alex rated it it was amazing

Shelves: 10-top-writing-guides

Definitely one of my top 10 writing guides. Comprehensive and detailed with a plethora of examples. Two techniques, which I haven't seen described in this useful and epiphanic way in any other book, stand out:

Particularity
We hear about avoiding clichés and generalities, but here Stein puts forward a positive admonition.

"To characterize, particularity is used to show how an individual looks dresses, or speaks without resort to cliches or generalizations."

Triage revising
Instead of going through a ...more

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Feb 18, 2012 Kym McNabney rated it it was amazing

STEIN ON WRITING by SOL STEIN is clearly to date the most impactful book on writing I’ve read. If you were to glance inside my copy you’d find dog-eared pages, highlights galore, asterisks, and notes written throughout.

STEIN ON WRITING is precise information, right to the point with useful examples. The language isn’t over the top. A must read for writers at any stage of their journey, but especially for those new to the craft and unpublished.

Here are a few notes I took pertaining to specific ...more

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Feb 22, 2017 Dannii Elle rated it it was amazing

Shelves: non-fiction-nuances

I am honestly never not going to buy anything that claims to improve my writing. But this one, more than any other, came with a renown and reputation that especially piqued my interest.

This book does exactly as the title suggests: acts as an aid to those wishing to improve their own penmanship. It comes with explanations of what to do and examples of how to do it. And the author, himself, is living proof of the acumen on his words.

It may seem odd that I could give the elusive five stars to a boo ...more

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Oct 12, 2016 Laure rated it really liked it

Shelves: seasonal-challenge-fall-2016

Impossible to disagree with the advice on there. I did not warm up immediately to the writer's persona in the book though. I think sometimes the 'manipulator' in the writer needs to leave place to the 'believer'. All the advice is great nonetheless. Points taken.

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Oct 25, 2007 Steve rated it really liked it

The risk in recommending a book on writing is that too much weight will be placed on how well-written the review is. I doubt Stein would want these sentences to serve as testimony to his expert tutelage. Be that as it may, I will still raise my voice in praise like the gospel choir at the Triple Rock Church. (In one section he said metaphors could be effective, though I'm not sure references to James Brown and The Blues Brothers were what he had in mind.)

Anyway, the book is full of useful tips. ...more

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Jul 24, 2009 Lewis Weinstein rated it really liked it

Shelves: writing

I have read parts of this book. It is a terrific stimulant to improved writing. I will take it with me this summer as I edit my new novel.

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Jun 02, 2009 Rebecca rated it it was ok

If you can slog through the Stein ego and attitude, there are some useful things here. But it's hard not to question a self-titled "master editor" on his editorial skills when he sees no problem with quoting his own fiction as masterfully written and obvious models for all of us. And his students' fiction, too. At best, these examples are uninspiring; at worst, they are actively horrible. So my main question is--why would you do that, when you have thousands of years of perfectly marvelous liter ...more

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Jan 19, 2012 Robin Spano rated it it was amazing

Shelves: writing-craft

Incredible book that helped me learn how to deepen characters and plot and enrich my writing.

Gripe: Stein refers to his own fiction too much for my taste - especially when he uses passages from his own work as examples of good writing. It felt a bit narcissistic, and also, how can he have the professional distance to truly know if he's nailed something? I'd have loved this book more if he'd used other works exclusively to illustrate his teaching points.

But it still gets five stars, because closi ...more

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Apr 09, 2012 Gary Lawrence rated it it was amazing

Shelves: guide-to-good-writing, audible-com-audiobook

Editorially Intensified Reading Experience
Seventy plus reviews already should be enough, especially when most have them have been written by aspiring writers, given a free kick at the head of an editor.

This one is written from the viewpoint of a reader. I will never read a book again without the experience being enhanced by the practical editorial knowledge passed on by Sol Stein in this book. My reading of Stein's how to manual is adding savour to my reading. Absorbing any book now, whether f ...more

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Sep 10, 2014 Barbara rated it it was amazing

I rarely gush over writing books and this off the top of my head.....

I recommend many writing books to my students and writer friends, depending on what my friend/student needs (of course I always recommend my own, Pen on Fire). Stein on Writing is the best book on the craft of writing fiction, and nonfiction. Stein was a publisher He published MY LEFT FOOT (and talks about this in a short section on writers who make excuses for why they're not writing).

Stein knew James Baldwin (they met in hi ...more

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Sep 10, 2014 jv poore marked it as to-read

Shelves: non-fiction

Although I am merely a writer of book reviews, I do have high hopes that my recapitulations will be instrumental both for readers (reluctant to ardent)as well as authors. I was thrilled to receive this gift.

Taking one of the first tips, I'm trying something different. Rather than read the book in its entirety, then review it; I'm going to attempt to record thoughts along the way.

1. I was surprised when, on page 10, I noticed what I believe to be a grammatical error. I hope I'm wrong. The last se ...more

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Sep 20, 2011 Louise Silk rated it it was amazing

Shelves: self-help, non-fiction

Once again, Sol Stein, gives me the information I need to continue with my writing.

Here are some of the best tidbits:
Show rather than tell.
Create tension and suspense.
Dialogue deals with character and plot simultaneously.
Use all six senses: smell, taste, touch, hear, see and it.
Less is more.
The purpose of a title is to sound exciting and exude resonance(prolonged response).
If figures of speech are overdone, they backfire.

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Apr 14, 2012 Miranda (M.E.) Brumbaugh rated it it was amazing

Shelves: non-fiction, writing, writer-bucket-list, books-read-2013

Excellent book for writers, readers and editors. Came away with loads of pointers that I'm putting into action during the revision process. Highly recommend; it has a new place in between my Dictionary of Symbols and Writer's Idea Book. Looking forward to reading Stein's "How to Grow a Novel" next.

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Mar 17, 2010 Rebecca rated it it was amazing

This is what a writing class should be- but almost never is. Stein taught me more about writing than anything since...reading! For fiction writers of all genres I cannot recommend the book highly enough. (Nonfiction help is included as well, but as I'm not a nonfiction writer, I cannot comment on that.)

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Oct 03, 2007 Jessica Donohoe rated it it was amazing

Recommends it for: aspiring writers

In a more perfect world, J.K. Rowling would have slowed down a second and read this wonderful 300pg tome on "Why 'said' is the only verb one should ever ever ever use to convey that any type of speech has occurred, and why good writing uses that one but sparingly."

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Feb 28, 2013 Robert Evert rated it it was amazing

Stein on Writing and Stephen King's On Writing are probably the best books on the craft of writing that I've read. Using his own work and the work of others, Stein shows the biggest problems most writers have and proposes solutions.

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Nov 24, 2015 Akemi G. rated it liked it

Shelves: read-nonfiction

If we remove the cocky (and often distasteful) remarks and name-dropping, this book has nothing more than any reasonably-good creative writing books/courses has to offer, but then, it does cover the basics, so I guess it is inappropriate to give it less than 3 stars.

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Feb 13, 2013 J.P. Hansen rated it it was amazing

This is one of the best books on writing I have read (and I've read thirty of them!). Easy to read and practical. Sol Stein helped me write non-fiction and fiction with confidence. If you're interested in writing, read this book first.

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Jan 28, 2013 Dominic Bellavance rated it it was amazing

Recommends it for: Les auteurs et les journalistes

Shelves: essai, apprentissages, lu-en-2013, lu-en-2015

Un des meilleurs livres du genre que j'ai lus. Va droit au but, sans fla-fla, et couvre un large éventail de sujets sur l'écriture. Les conseils visent autant les auteurs de fiction que ceux de non-fiction (y'a un terme en français pour ça?).

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May 21, 2010 Brent rated it really liked it

Shelves: research

An excellent book that combines theory and practical advice. It's hard to argue with Sol Stein's success in the publishing industry, and I enjoyed reading what he had to share.

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Feb 04, 2017 Χρήστος Κασκαβέλης rated it it was amazing

You better read it, before you write another word. If you write. If you don't write and only read then don't read it. It destroys the magic.

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Mar 01, 2018 Bob Nichols rated it it was ok

Stein’s book is about how to write good fiction and, ostensibly, how to apply good fiction techniques to non-fiction. Really, though, Stein is about one type of writing only – good literary technique (tension and conflict; character definition and evoking emotion, etc.). He acknowledges popular-commercial fiction but does this with a not-so-subtle air of distain. Literary writing is for “permanence,” writing for the ages and that sort of thing. It is, Stein says, “a calling, not an occupation.” Stein’s book is about how to write good fiction and, ostensibly, how to apply good fiction techniques to non-fiction. Really, though, Stein is about one type of writing only – good literary technique (tension and conflict; character definition and evoking emotion, etc.). He acknowledges popular-commercial fiction but does this with a not-so-subtle air of distain. Literary writing is for “permanence,” writing for the ages and that sort of thing. It is, Stein says, “a calling, not an occupation.” It’s not for daily entertainment, as if there’s something wrong with that.

And nowhere does Stein acknowledge another type of writing, thinkers who write, when content is more important than technique. Referring to John Gardner’s comment that detail is the lifeblood of fiction, it could be that such detail is fly-over country for those who are more interested in ideas and what is written versus how it is written. Stein says we should move from generalities to visual particulars. “She boiled water in a lidless pot so she could watch the bubbles perk and dance” is much preferred he says to “She boiled water.” Really? Just how important is it for the reader to know that a “she” needed to watch bubbles perk and dance? Stein rewrites the introductory paragraph to Arthur Hailey’s Airport, but it comes across as way over done. Technique takes over. It moves the writer to the front and gets in the way of the story. Good writing Stein says pays attention to diction. Describing a famous general as “humane” won’t work because it is “a colloquial parlance” for ‘“regular guy,’” which “a hundred readers would pile many meanings relating to their own experience.” Yet it could be this is precisely what is needed to make a point and not get bogged down. Stein advises that “bald pink knees” is the crucial part of a sentence that states that a male sat on the balcony with his “bald pink knees thrust against the ironwork.” Well, that seems more distracting than not. Who might care about the color of knees? “Thrusting” conveys enough, though I suppose it explains why knees are pink and not white, but aren’t knees bald by definition? And, like other writing books, Stein advises his readers to cut adjectives and adverbs, and to “make every word count,” the efficiency of which seems to counter the emphasis he puts on cluttering detail.

Here and there, Stein provides good writing tips (e.g., role of titles, the three main points of view, the use of markers to identify characters) that make this a helpful book to read. Clearly, he has all of that high-level experience and a lot to offer a reader from that perspective ("a master editor" the book cover states), though sometimes he is just too much: “The craft of creative writing is at least as complex as the craft of science,” he writes. “I have one student who is an aeronautical engineer and another who is an obstetrician, and I dare say both would admit that writing to a professional standard involves craft at least as complex as their occupations. You wouldn’t want a layman walking into a hospital operating theater to deliver a child. Nor would you want a layman to design the next airplane you travel in.” Stein has his professional standards and he relays them in this book, but it's fair to say that there’s far more subjectivity involved than what he allows. ...more

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Feb 17, 2018 Talia rated it it was amazing

If you only have one self-help book for writing on your shelf, this needs to be it. Stein's practical applications for writing are engaging and easy to implement. He focuses on how to write in the 21st century with chapters that cover swift characterization, realistic dialogue, and flashbacks in both fiction and non-fiction. It's so easy to read that I felt like I was reading a novel.

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Jul 12, 2011 Seth rated it really liked it

Great tutorial on writing. The book isn't just for fiction authors. I wish it had more instruction on characterization and plot building. The brevity is also the strength of the book. Stein encourages and even inspires writers to take pride in their work. I found some of the editing exercises to be immediately helpful. The book surveys many areas where authors struggle the most. The advice is detailed enough to be useful yet clearly explained. For example, Stein suggests using adjectives and adv ...more

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Feb 20, 2015 Kate Savage rated it liked it

This is an exasperating book, and a useful one. Great prompts and experiments and practical advice for both literary and commercial writers. But some of the examples of "good" writing are ridiculous. And in the meantime you have to deal with Stein's nonsense about gender (his love-scenes advice is intolerable, including his insider's tip that women can be equated with their hair, more or less.)

But that's not going to stop me from using his other advice. I'd recommend it to writers -- has the sam ...more

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Jan 19, 2012 Dorothyanne Brown rated it liked it

Well.
I have a lot of books on how to write. Many of them sit on the shelf and beg me, beseechingly, to open their covers, give them some sense of purpose. Often when I listen to them, I am disappointed by their contents.
This is one such book. Sol Stein may be a "master editor" but my golly I get tired of his name dropping and self-aggrandizement! This book has less advice than self-praise and for this reason I am tossing it to the giveaway bin.
Much better to read Frey's "How to Write a damn good ...more

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Feb 05, 2010 Holly rated it really liked it

Shelves: writing-technique, nonfiction

Helpful. Concise. Direct. Excellent direction on how to write so that your work will get published.

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About Sol Stein

Sol Stein

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Born in Chicago on October 13, 1926, Stein is the son of Louis Stein and Zelda Zam Stein. The family moved to New York in 1930. In 1941, while living in the Bronx, Stein wrote his first book, "Magic Maestro Please," followed shortly by "Patriotic Magic." Stein attended DeWitt Clinton High School, where he served on the Magpie literary magazine with Richard Avedon and James Baldwin.[1] He graduated Born in Chicago on October 13, 1926, Stein is the son of Louis Stein and Zelda Zam Stein. The family moved to New York in 1930. In 1941, while living in the Bronx, Stein wrote his first book, "Magic Maestro Please," followed shortly by "Patriotic Magic." Stein attended DeWitt Clinton High School, where he served on the Magpie literary magazine with Richard Avedon and James Baldwin.[1] He graduated in 1942 and enrolled at CCNY, which then provided a free education.

Between the time of Stein’s enlistment in the Army Air Corps in 1944 and being called to active duty on March 1, 1945, Stein had completed nearly three years of infantry ROTC at CCNY. After qualifying for pilot and bombardier training, a backlog of pilots caused Stein to voluntarily transfer to the infantry. Overseas, he served as an Information & Education officer in the Headquarters of the 1st Infantry Division (United States) in Germany as Commandant of Division Schools, located in three cities, Regensburg, Ansbach, and Triesdorf. On 5 November 1946 Stein was cited by Lt. General Geoffrey Keyes for having organized and commanded the best occupational training schools in the Third Army Area in the American Zone of Germany.

Upon returning from Europe in 1946, Stein completed work for his degree at CCNY and simultaneously with his graduation in 1948 was employed at the college as a lecturer in social studies. While teaching, he took his Master’s degree in English and Comparative Literature at Columbia University in 1949 and was accepted for the famed doctoral seminar conducted jointly by Lionel Trilling and Jacques Barzun, both of whose writings Stein was to later to edit.

From 1951 to 1953 Stein was employed by the Voice of America, eventually as senior editor of the Ideological Advisory Staff of the Voice of America. He wrote daily scripts that were translated into 46 languages and broadcast to two million people risking their lives listening behind the Iron Curtain. It was at the Voice that Stein’s association with Bertram Wolfe began; Stein was instrumental in causing the re-publication of Wolfe’s masterpiece, Three Who Made a Revolution, which had been allowed to go out of print. The book subsequently sold half a million copies in a few years and was adopted in almost all Soviet Studies programs in the U.S. and elsewhere.

In 1953 Stein, a centrist, was appointed Executive Director of the American Committee for Cultural Freedom, an organization of 300 leading American intellectuals of left and right working together in support of civil liberties[2] and battling Senator Joseph McCarthy in the U.S. and Soviet propaganda and influence among intellectuals in Europe, Asia, and Latin America.[3] It was in this period that the eventual publisher supervised the writing and publication of McCarthy and the Communists, which made The New York Times Bestseller List for 13 weeks and was credited with contributing to the unseating of Senator McCarthy.

In 1952 Stein was granted a leave of absence from the Voice of America to accept back-to-back fellowships at Yaddo, an artists’ colony, and the MacDowell Colony.[4] At MacDowell, Stein completed his first play, Napoleon, under the watchful eye of Thornton Wilder, a fellow at the same time. The verse drama was produced the following year by the New Dramatists organization at the ANTA Theater in New York and was chosen by the Dramatists Alliance as “the best full length play of 1953.”

Stein completed a second play, A Shadow of My Enemy, originally intended as an adaptation of Whittaker Chambers' best-selling memoir, Witness (1952), but, when denied rights, based on public record and published in 1957.[5] The play, whose synopsis runs "A senior editor of Time magazine accuses his closest friend of being a Communist,"[6] was originally commissioned by the Theater Guild and subsequently produced on Broadway by Roger Stevens, Alfred deLiagre Jr., and Hume Cronyn. The cast starred Ed Begley and Gene Raymo ...more

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