I read this novel because I bought Sol Stein's book "On writing" and wanted to know if he really knew what he was talking about. I wanted to see if he practiced what he preached so to speak. Well I was rewarded with a heck of a good read. I was really left wondering why I had never heard of him before. This novel is really great.

For me it is the characters. Their voices are so strong and vibrant. I liked every one. And not a one of them sounds the same. The plot was great too but the characters really make the book. I love them.

When I finished this book I went right back to "on writing" and read it again. This time secure in the knowledge I was learning from a master of his craft.

This story is on a similar vein as The Movie Red Dawn but was written earlier. It's well crafted and interesting. I liked it because it wasn't predictable. Well crafted story.

This book is phenomenal. I couldn't put it down. IT is the story of a young adolescent that is exploring his own sexuality and magic. He is caught in a web of legalities, and is represented by a true magician.

Sol Stein is a gentleman of many hats. Wearing his writing hat, he has published bestselling novels like THE HUSBAND and THE MAGICIAN and OTHER PEOPLE as well as books and computer software on the craft of writing. He has tipped his editing hat to such prominent authors as James Baldwin, Elia Kazan and Jack Higgins. He has sported his teaching hat at Columbia, Iowa and the University of California at Irvine. Sol Stein is a man who knows what he's talking about when he talks about writing,

In HOW TO GROW A NOVEL, Stein presents some illuminating information for the fiction author. He intends to "write a book in which I could deal with the most important recurrent problems in the same depth as I would in an extended meeting with an individual author." And so he does.

The book is divided into two sections: The Responsibilities of the Writer and The Responsibilities of the Publisher. The appendix has two additional sections under the label of Practical Matters: The Little Things that Damage the Writer's Authority (on the use of dialect, on binding manuscript pages, for example, and how long your book should be) and Where Writers Get Help (in this chapter he promotes his own books and computer programs, but he does mention others).

In Responsibilities of the Writer, Stein says that the reader of fiction is looking for "an experience different from his or her everyday experiences in life." It's not that the reader doesn't welcome insight and information, but it's the experience of the story that keeps him or her glued to the page. Stein's objective "is to help novelists perfect their skill in making the reader turn pages, to forget that he is reading, to live among characters that once resided only in the writer's head and now seem true and memorable to strangers."

The time to consider the reader's experience - that is, the effect that each scene sequence will have on the reader -- is not when you are writing a book but when you are planning it. In a series of questions and answers he demonstrates just how to do that using examples from his own work and from works he has edited.

Stein discusses the necessity for conflict and demonstrates that conflict may not necessarily be violent, but it is the very essence of dramatic action. In the manuscripts he sees, he writes, "the fault is seldom too much conflict." So he goes on to show just how to create an adversarial sense in order to keep the reader on edge of expectation.

Another responsibility of the writer is to capture the reader, to create a "love at first sight" kind of experience. The beginning must grab her, glue her to the page and the rest of the book must not let go until the very end. The use of surprise, the building of tension, the use of detail to clarify and intensify, twisting a plot point into something else - he illustrates each suggestion with an example from his own work or something he has edited.

Stein emphasizes the importance of building realistic characters, yet his approach is a little different. One suggestion he makes: If you are struggling with a flat character, he says, take a look in his pocket (or, presumably, her purse). Find something that would surprise him/her greatly. Then answer the questions he poses.

Finding plots, creating dialogue, the best point of view, writing with honesty and focus - all of these are areas where the writer has a responsibility to the reader and Stein gives new insight into how to achieve them in fiction. He attacks specifics in revision. Removing redundancies and author intrusion, eliminating melodrama and extra words and phrases, replacing cliché "beats" with small, appropriate actions, changing events that are "told" into active scenes are just some of the problems he illustrates.

"The function of an editor," he writes, "is to help a writer achieve the writer's intentions." The many suggestions and exercises in this book should do exactly that, whether his reader is a published author or novice writer. It's stunning to discover that the single most common mistake that Stein has seen, "including the work of professionals," is words, sentences and paragraphs out of order.

For the nonfiction writer there's an entire chapter on "Fundamentals for Emigrants from Nonfiction" that will shortcut a long road that might otherwise by a trial-and-error one full of pitfalls. The 70 or so tips certainly shortcut the process of revising fiction.

I must admit that I have avoided Sol Stein's works because of a past experience with his crass commercialism in promoting his software for writers. However I can say, without reservation, that HOW TO GROW A NOVEL is a truly useful and enlightening book for every writer, whatever her level of experience.

Writers of all experience levels know you have to constantly hone your craft. "How to Grow a Novel" takes an in-depth look at every aspect of writing. From the common problems that plague writers to what a reader really wants out of a book, this guide to writing is one of the best on the market.

Chapters cover:
• Conflict
• Characters
• Plots
• Dialogue
• Point of View
• Crafting Your Words
• Revision
• Nonfiction Emigrants

Each chapter tackles important fundamentals writers often struggle with. Stein uses real-life examples from popular novels to illustrate his point, making it even easier to apply his suggestions to your own writing.

Whether you're a published author or just beginning your writing venture, Stein's experience can definitely help. He talks candidly about what works and what doesn't. "How to Grow a Novel" also spells out the key ingredients your novel should contain as well as how to incorporate them into your own writing.

Writers of every type will find Sol Stein's "How To Grow A Novel" to be an invaluable resource in the eternal quest to hone and refine their skills. As the former editor of numerous best-selling books, and the author of best-selling books himself, Sol Stein is more than qualified to offer his advice, and his readers would do well to heed that advice.

Whether a beginning novelist or a New York Time's best-selling author, "How To Grow A Novel" has much to offer. Readers will learn of the necessity of conflict, how to compose effective dialogue, proper point-of-view, and most importantly - how to capture the reader (so as not to commit the cardinal sin of boring one's audience). Stein also gives his thoughts on common mistakes made by writers, including those made during the revision process.

But the true value of this book stems from its emphasis on the fundamentals. Certain elements pertain to all good writing, such as the effort to use no unnecessary words. Stein stresses those elements, and if applied, they will make fair writers good and good writers great. Like Webster's Dictionary and a thesaurus, "How To Grow A Novel" should be a handy reference on every serious writer's desktop. I've personally benefited from its guidance, and I highly recommend it to other aspiring authors.

Britt Gillette
Author of "Conquest of Paradise: An End-Times Nano-Thriller"

An excellent resource overall. However, if you've read a lot of "how to write" books, you won't find a tremendous amount that's new here. Nonetheless, with this book you'll find it all in place and presented with much gusto, along with good examples of great writing. If you haven't read dozens of other how-to books, you too will find much useful advice. Regardless, reading this book makes you realize that mastering the craft of writing is an unending process that will take anyone a lifetime to master. Moreover, Sol doesn't lean too far to the "literary" or "commercial" side. He's after good writing, period, and that's such a welcome distinction from most other writing "teachers" (cf. Zuckerman and Gardner).

Plus, his exercise on "finding your voice" may be the hardest writing lesson you'll ever face.

This book is a must have for all writers regardless of genre or educational background. Stein on Writing basically breaks down the fundamentals of writing. Writers tell a story but it is taking the reader into consideration that makes the story great. Showing not telling and a host of other tools Stein urges you to explore make this book worth every penny.

Do you want your characters to live and breathe, see, smell, touch, love, hate?

Do you want your plot to MOVE?

Do want to set the hook in readers on the first page and hold them through to the end?

Do you want dialog that supports each character's character, that adds drama to your story?

Do you want to show rather than tell?

Do you want to get the flab out of your writing?

If your answer on any of the above is "yes", get "Stein on Writing". You'll find, too, that I've only scratched the surface of what's in it. Sol Stein knows what he's talking about here. And he doesn't waste a word, which is why this huge book is only 300 pages. I read it in a day but I'll never be through with it -- here it sits, open, at my left elbow, marked up something awful.

I applied the advice in this little book to a "finished" manuscript that had been professionally edited, it had received valuable input from some fine readers, and I was satisfied that it was as good as I could get it. Now, a month after Stein dropped in the story is 20 percent shorter and there is more to it.

I write non-fiction as well, and it's going to be a lot better from here on out because Stein covers that, too.

I don't care who you are, I'll bet you 50 cents this book will improve your writing.

When Margaret and Harry Brown begin their trip down the California coast with a stop at an exclusive "resort", they settle into their luxurious surroundings, only to discover that, along with several hundred others, they are being held prisoner. With an illegal cash crop funding the anti-semitic operation, "Cliffhaven" is the brainchild of Merle Clifford, a megalomaniac determined to eliminate Jews from the landscape of America. He enjoys great sucess with his diabolical plan - until the arrival of the indomitable Harry Brown.

Set in a redwood forest high atop the coast of Big Sur, "Resort" is a starkly written, fast-moving thriller that I read in less than a day. The novel portrays the deep angst of persecution for the Jewish people and reminds us all that we must continue the fight against religious intolerance, lest we become victim to its evil.

The author writes from the omniscient point of view and escorts the reader into the minds of many characters, including the antagonists. Stein is a delightful storyteller who uses minimal description and good characterization to create a fast-paced plot. A great read.

If the book was a little better, it might have gotten more stars. If it was any worse, it probably would have gotten less stars. That pretty much sums it up.