Sol Stein Quotes

• In our not-yet-acknowledged secret garden lie the seeds of some of our best not-yet-written stories

  Sol Stein

  Lying, Garden, Secret

  Sol Stein (2014). “How to Grow a Novel: The Most Common Mistakes Writers Make and How to Overcome Them”, p.68, St. Martin's Press

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• The biggest difference between a writer and a would-be writer is their attitude toward rewriting. . . . Unwillingness to revise usually signals an amateur.

  Sol Stein

  Attitude, Differences, Would Be

  Sol Stein (2014). “Stein On Writing: A Master Editor of Some of the Most Successful Writers of Our Century Shares His Craft Techniques and Strategies”, p.277, St. Martin's Press

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• To create tension, dialogue needs to be stretched out. That is, characters should not be immediately responsive.

  Sol Stein

  Writing, Character, Needs

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• Our instinct as human beings is to provide answers, to ease tension. As writers our job is the opposite, to create tension and not dispel it immediately.

  Sol Stein

  Jobs, Opposites, Answers

  Sol Stein (2014). “Stein On Writing: A Master Editor of Some of the Most Successful Writers of Our Century Shares His Craft Techniques and Strategies”, p.106, St. Martin's Press

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• El diálogo es un lenguaje ágil en el que cada palabra cuenta.

  Sol Stein

  Writing, Language, Dialogue

  Sol Stein (2014). “Stein On Writing: A Master Editor of Some of the Most Successful Writers of Our Century Shares His Craft Techniques and Strategies”, p.113, St. Martin's Press

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• A lawyer's job is to manipulate the skeletons in other people's closets.

  Sol Stein

  Jobs, Skeletons, People

  Sol Stein (2005). “Other People”, p.168, iUniverse

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• Readers take in dialogue one thought at a time. A frequent mistake of beginners is to combine thoughts, which may be suitable for other forms of writing but not for dialogue. Another mistake is speechifying. Three sentences at a time is tops, yet many beginners write speeches that go on and on.

  Sol Stein

  Mistake, Writing, Beginners

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• A writer writes what other people only think.

  Sol Stein

  Escribir, Pensar, Personas

  Sol Stein (2014). “How to Grow a Novel: The Most Common Mistakes Writers Make and How to Overcome Them”, p.87, St. Martin's Press

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• Readers, transformed by film and TV, are used to seeing stories. The reading experience . . . is increasingly visual.

  Sol Stein

  Reading, Stories, Tvs

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• El mago experto busca engañar a la mente, más que al ojo.

  Sol Stein

  Eye, Magic, Mind

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• A reader's emotions can be sparked with few words. That's the power of dialogue.

  Sol Stein

  Writing, Few Words, Emotion

  Sol Stein (2014). “Stein On Writing: A Master Editor of Some of the Most Successful Writers of Our Century Shares His Craft Techniques and Strategies”, p.113, St. Martin's Press

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• Dialogue, contrary to popular view, is not a recording of actual speech; it is a semblance of speech, an invented language of exchanges that build in tempo or content toward climaxes.

  Sol Stein

  Writing, Views, Speech

  Sol Stein (2014). “Stein On Writing: A Master Editor of Some of the Most Successful Writers of Our Century Shares His Craft Techniques and Strategies”, p.110, St. Martin's Press

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• Most of the time, tough, combative, adversarial dialogue is much more exciting than physical action.

  Sol Stein

  Writing, Action, Tough

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• Veo manuscritos y libros que se echan a perder para el lector literario porque son un largo torrente de escritura de cabeza, un escritor que cuenta una historia sin preocuparse por la precisión o la frescura en el uso del lenguaje. Algunos de estos relatos se leen como si fueran hablados en lugar de escritos, llenos de imágenes manidas que le vienen a la cabeza al escritor porque le resultan muy familiares. La parte superior de la cabeza es apta para hacer crecer el pelo, pero no para generar prosa fina.

  Sol Stein

  Book, Writing, Tired

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