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Mastering the Craft of Writing: How to Write With Clarity, Emphasis, and Style
Make Every Word Memorable!
To be remembered for your words, you need to write with skill and style. Whether you're crafting a novel, composing an e-mail, or creating a technical report, Mastering the Craft of Writing presents 52 practical techniques to improve your prose. Spend a week with each technique, or use this book as a go-to reference. Either way, you'll have the tools to enliven your writing and delight your readers.
Write with Eliminate wordiness, use strong verbs to drive your sentences, and don't trust modifiers. Write with Use punctuation for effect, structure sentences and paragraphs for coherency and flow, and employ repetition to make your point. Write with Use your imagination to create the unexpected, add a light-hearted touch to your writing, and go beyond clarity to eloquence and grace.
With exercises, entertaining asides, and a wealth of useful information, Mastering the Craft of Writing is an invaluable resource for any writer. Once you master these techniques, you'll want to use them in everything you write.
To be remembered for your words, you need to write with skill and style. Whether you're crafting a novel, composing an e-mail, or creating a technical report, Mastering the Craft of Writing presents 52 practical techniques to improve your prose. Spend a week with each technique, or use this book as a go-to reference. Either way, you'll have the tools to enliven your writing and delight your readers.
Write with Eliminate wordiness, use strong verbs to drive your sentences, and don't trust modifiers. Write with Use punctuation for effect, structure sentences and paragraphs for coherency and flow, and employ repetition to make your point. Write with Use your imagination to create the unexpected, add a light-hearted touch to your writing, and go beyond clarity to eloquence and grace.
With exercises, entertaining asides, and a wealth of useful information, Mastering the Craft of Writing is an invaluable resource for any writer. Once you master these techniques, you'll want to use them in everything you write.
322 pages, Kindle Edition
First published April 1, 2014
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February 16, 2016Gutsy. Stephen Wilbers begins Mastering the Craft of Writing with a challenge—read this book twice. In a world where few people read, even fewer read with any depth, and most treat writing books as a sleep aid, any author encouraging a second read might appear delusional. But, on finishing a first read, perhaps gutsy fits.
Wilbers describes himself as a “writing consultant, award-winning author, and columnist”.[1] He has taught at a number of universities[2] and written a number of books on writing—the other one on my desk is Keys to Great Writing (Cincinnati: F&W Publications, 2000).[3]
Mastering the Craft of Writing focuses on 52 writing tips for weekly study complete with exercises and, frequently, a reflection illustrating the tip of the week. Many of Wilbers’ tips proved helpful in drawing attention to fine points in language usage that I was not—as a writer—sensitive to. Early in his book he focuses on tips relating to clarity; the middle of the book focuses on tips about emphasis; and late in the book he focuses on stylistic writing tips. Let me structure my comments accordingly.
Clarity. For example, the tip for week 1 advises the writer reading to: “Listen to Your Language” (5). Picking a few well-known, book titles, like Ernest Hemingway’s “The Old Man and the Sea”, he teases us with alternative word choices (e.g. “The Elderly Man and the Ocean”) to make the point that word choice matters.
Another example of a clarity tip is found in week 19 where Wilbers lists 5 type of mid-sentence shifts to avoid—
o Shifts in verb tense,
o Shifts in person,
o Shifts in subjects,
o Shifts in voice, and
o Shifts in modified subject (103-104).
—and cites examples of sentence both with the error and with the error corrected. While I was sensitive to the first two shifts (verb tense and person), the others were new to me. Oftentimes in speaking and writing we make these shifts without giving them much thought even though they muddle our message unnecessarily.
Emphasis. Wilbers’ tips on sentence construction and emphasis were interesting, such as in week 27, where he writes:
“In the left part of your sentence, concentrate on topic. In the right part of your sentence, manage your emphasis.” (147)
Building on this discussion, he observes in week 29 that subordinate clauses can be used to put a positive spin on bad news—a talent helpful for writers who have daily interactions with the public (157). This tip makes clear that Wilbers is sensitive to a wider range of writing styles and contexts than most writers who tend to write for a particular audience and within a particular professional context.
Style. Wilbers offers a number of tips that can add polish to your writing—who can’t use more polish? For someone, like myself, coming out of a technical writing background, these tips are perhaps the least familiar.
For example, in week 40 Wilbers outlines 4 types of compound sentences:
o Balanced (or parallel) sentences have a list of similar elements,
o Antithetical sentences are balanced sentences with a contrary element,
o Loose sentences begin with a main clause and are followed by parallel elements, and
o Periodic sentences have the main clause following the parallel elements (223).
What kind of sentence is this line—
“Of all the gin joints, in all the towns, in all the world, she had to walk into mine.” (222)
—spoken by Rick Blaine (Humphrey Bogart) in the 1942 movie Casablanca? By placing the parallel elements in the sentence first, a periodic sentence offers a drama introduction to the main clause according to Wilbers (223).
Stephen Wilbers’ Mastering the Craft of Writing is an interesting and accessible read. Even experienced writers are likely to find his advice useful. Wilbers’ challenge to read the book more than once is warranted, if you are like me, because for the absent minded—practice still makes perfect.
[1] Backcover. Also see: http://www.wilbers.com.
[2] For example, he teaches at the University of Minnesota.
[3] My current writing instructor recommended both books—Keys to Great Writing and Mastering the Craft of Writing.
Wilbers describes himself as a “writing consultant, award-winning author, and columnist”.[1] He has taught at a number of universities[2] and written a number of books on writing—the other one on my desk is Keys to Great Writing (Cincinnati: F&W Publications, 2000).[3]
Mastering the Craft of Writing focuses on 52 writing tips for weekly study complete with exercises and, frequently, a reflection illustrating the tip of the week. Many of Wilbers’ tips proved helpful in drawing attention to fine points in language usage that I was not—as a writer—sensitive to. Early in his book he focuses on tips relating to clarity; the middle of the book focuses on tips about emphasis; and late in the book he focuses on stylistic writing tips. Let me structure my comments accordingly.
Clarity. For example, the tip for week 1 advises the writer reading to: “Listen to Your Language” (5). Picking a few well-known, book titles, like Ernest Hemingway’s “The Old Man and the Sea”, he teases us with alternative word choices (e.g. “The Elderly Man and the Ocean”) to make the point that word choice matters.
Another example of a clarity tip is found in week 19 where Wilbers lists 5 type of mid-sentence shifts to avoid—
o Shifts in verb tense,
o Shifts in person,
o Shifts in subjects,
o Shifts in voice, and
o Shifts in modified subject (103-104).
—and cites examples of sentence both with the error and with the error corrected. While I was sensitive to the first two shifts (verb tense and person), the others were new to me. Oftentimes in speaking and writing we make these shifts without giving them much thought even though they muddle our message unnecessarily.
Emphasis. Wilbers’ tips on sentence construction and emphasis were interesting, such as in week 27, where he writes:
“In the left part of your sentence, concentrate on topic. In the right part of your sentence, manage your emphasis.” (147)
Building on this discussion, he observes in week 29 that subordinate clauses can be used to put a positive spin on bad news—a talent helpful for writers who have daily interactions with the public (157). This tip makes clear that Wilbers is sensitive to a wider range of writing styles and contexts than most writers who tend to write for a particular audience and within a particular professional context.
Style. Wilbers offers a number of tips that can add polish to your writing—who can’t use more polish? For someone, like myself, coming out of a technical writing background, these tips are perhaps the least familiar.
For example, in week 40 Wilbers outlines 4 types of compound sentences:
o Balanced (or parallel) sentences have a list of similar elements,
o Antithetical sentences are balanced sentences with a contrary element,
o Loose sentences begin with a main clause and are followed by parallel elements, and
o Periodic sentences have the main clause following the parallel elements (223).
What kind of sentence is this line—
“Of all the gin joints, in all the towns, in all the world, she had to walk into mine.” (222)
—spoken by Rick Blaine (Humphrey Bogart) in the 1942 movie Casablanca? By placing the parallel elements in the sentence first, a periodic sentence offers a drama introduction to the main clause according to Wilbers (223).
Stephen Wilbers’ Mastering the Craft of Writing is an interesting and accessible read. Even experienced writers are likely to find his advice useful. Wilbers’ challenge to read the book more than once is warranted, if you are like me, because for the absent minded—practice still makes perfect.
[1] Backcover. Also see: http://www.wilbers.com.
[2] For example, he teaches at the University of Minnesota.
[3] My current writing instructor recommended both books—Keys to Great Writing and Mastering the Craft of Writing.
December 22, 2018
This leads me into 2019. Next year, I plan on not reading anywhere near as much, focusing instead on writing. I read 150 books in the last two years—taking much in—but next year I want to focus on reviewing quotes from those books, writing more, and developing the skills of writing.
As for this book, it was practical, insightful, and much of it was new to me. It taught me that good writing is not only a skill, but something that one can work on and improve at. Many of his chapters were things I just hadn’t considered before; but having read a decent amount, they were things I noticed were a part of good writing.
This book has 52 chapters/techniques to practice. He recommended in this book to read through it first, then for a year to do a chapter a week with the exercises. I read through; next year I’ll do the exercises and applications to my own writing. I look forward to doing so.
As for this book, it was practical, insightful, and much of it was new to me. It taught me that good writing is not only a skill, but something that one can work on and improve at. Many of his chapters were things I just hadn’t considered before; but having read a decent amount, they were things I noticed were a part of good writing.
This book has 52 chapters/techniques to practice. He recommended in this book to read through it first, then for a year to do a chapter a week with the exercises. I read through; next year I’ll do the exercises and applications to my own writing. I look forward to doing so.
October 13, 2014
Pretty interesting book filled with all sorts of neat little writing tricks. Worth a read.
December 27, 2016
Magnificent writing tool. Going in for my second read at the top of 2017. Master these techniques and I will be the best writer I hope to be.
May 22, 2018
Masterful. Stephen Wilbers book does what most writing books fail to do; teach writers how to write better. Fifty-two chapters - one for each week - delve into the tips and trade of writing. From "Listen to Your Language" through "Use Dashes for Dashing Effect" to "Going Beyond Clarity to Eloquence and Grace," Wilbers provides actionable intelligence, rife with examples and humor, on dozens of areas that writers need to learn to write better.
"Delete 'That' For Rhythm and Flow; Retain 'That' for Clarity" provides clear, concise, and most importantly, useful information on when to use the word "That;" and when to not. Other expected topics include when to use active versus passive voice, making every word count, and punctuating for emphasis. Less expected and perhaps even more valuable are topics like avoiding indirect and direct negatives, how to use a long-short combo to surprise and delight your reader, and how to use sentence beginnings and subordinates to control emphasis. The list goes on. You'll even learn about six repetition schemes with undecidedly Latin names that produce pleasing cadences in your writing.
Wilbers recommends that everyone read the book twice (at least). The first time for content, the second time to do the exercises that appear at the end of every chapter. These exercises give practical experience that, if done diligently, should improve your writing. At the end of the book he includes a brief "Summary of Techniques" for each of the 52 chapters. He recommends, and I concur, that writers spend a week practicing each technique, then reviewing the Summary of Techniques a year later. I intend to do just that.
"Delete 'That' For Rhythm and Flow; Retain 'That' for Clarity" provides clear, concise, and most importantly, useful information on when to use the word "That;" and when to not. Other expected topics include when to use active versus passive voice, making every word count, and punctuating for emphasis. Less expected and perhaps even more valuable are topics like avoiding indirect and direct negatives, how to use a long-short combo to surprise and delight your reader, and how to use sentence beginnings and subordinates to control emphasis. The list goes on. You'll even learn about six repetition schemes with undecidedly Latin names that produce pleasing cadences in your writing.
Wilbers recommends that everyone read the book twice (at least). The first time for content, the second time to do the exercises that appear at the end of every chapter. These exercises give practical experience that, if done diligently, should improve your writing. At the end of the book he includes a brief "Summary of Techniques" for each of the 52 chapters. He recommends, and I concur, that writers spend a week practicing each technique, then reviewing the Summary of Techniques a year later. I intend to do just that.
May 15, 2019
I was forced to read this book for school, but I am delighted that I was. Improving one's writing is a skill we all strive for. It is a difficult and perilous journey, but breaking it down into a years period, each chapter taking one week, is a fantastic way to do so. I gathered many takeaways and relearned the fun in writing. Even in "boring" essays, one can have personality. Take risks. Be bold. Add a phrase you would not usually add. Play with sentence structure.
Although out of context, it reminds me of something Daniel Keyes wrote in "Flowers for Algernon", "Puncuation, is? fun!", that along with writing should continue to be. Writing is like having a blank canvas with an assortment of vibrant colors nearby and all one has to do is pick up the brush, or dive right in with your hand. Make your own "art" and own it.
Although out of context, it reminds me of something Daniel Keyes wrote in "Flowers for Algernon", "Puncuation, is? fun!", that along with writing should continue to be. Writing is like having a blank canvas with an assortment of vibrant colors nearby and all one has to do is pick up the brush, or dive right in with your hand. Make your own "art" and own it.
April 25, 2018
I enjoyed reading this book. I liked how the book was broken down into sections based on a writing tip and then had examples and exercises in each chapter (or week as it was referred to). It is interesting that the author recommended reading the book more than once. I agree—it’s a lot of information and will probably be better retained if read again.
October 30, 2018
Excellent tips ... now if I can only master them.
May 22, 2020
excellent inspiration
January 24, 2016
NOTE: Before I begin, I'd like to mention that the paperback version of this book I received is not called From Good to Great Writing: 52 Strategies for Writing with Style as it is listed on Goodreads. It is called what it is on the cover picture---Mastering the Craft of Writing: How to Write with Clarity, Emphasis, and Style. It is also not 224 pages, but approximately 312, the same amount as the eBook version. With that said Therefore, I'll be referring to this text as "Mastering the Craft of Writing" throughout the review.
Clarity is one of my biggest problems in writing. I'm often write, unintentionally, "purple prose," vague sentences that might be beautiful and pleasing to the ear, but just don't get my point across. As someone who wants to write fiction for a living, that can't happen. At all. I don't want my readers to be confused for any reason. The moment my reader becomes confused, the moment they put down my book and cost me a sale.
Because of this desire to improve my clarity, I went out and bought this book, and I'm very glad I did.
Mastering the Craft of Writing by Stephen Wilbers is a very accessible guide to writing clearly, emphatically, and stylistically. Each of its short, fifty-two chapters discusses how to improve your writing on word-by-word, sentence-by-sentence, and paragraph-by-paragraph levels. Furthermore, Wilbers demonstrates his notable skills as a writer and teacher.
For example, in the "NOTE" section, notice that I crossed out the phrase, "With that said," and replaced it with "Therefore". The phrase "that said," is an example of a vogue expression, a filler phrase that doesn't really say much at all. In chapter 47 of Mastering the Craft, Wilbers encourages writers to use more precise language in place of vogue expressions, such as "therefore," "furthermore," etc.
However, I think using "that said" is okay sometimes---especially in fiction, where authors run into the possibility of having characters that don't speak with formal diction, or a narrator with tons of verbal tics and filler phrases. And what makes Mastering the Craft so good is that Wilbers acknowledges exceptions like this. In the last chapter, he discusses what it means for a writer to develop a persona, and how your word choices affect the impression you want to leave on your reader. Because I used "Therefore," I created a persona that is more formal to you, the reader, and it is this kind of thought process about your writing that will make it stronger.
The mark of a great writer is seen in those who lace purpose and intent behind every word they put down on paper, because they know, as Wilbers puts it, that "[w]riting is power" (290).
For advanced writers, or those who have read past classic texts on writing such as Strunk's The Elements of Style and Zinsser's On Writing Well, I expect that not much will be new to you. Wilbers refers to these and other texts on writing quite a bit. But for beginning, intermediate, or nearly advanced writers out there who want to to make sure their sentences do justice to their compositions as a whole---be it for business writing, technical writing, novel writing, or anything else, I recommend picking this one up (along with all the other great writing books Wilbers refers to). Like Wilbers recommends, read it once through without doing any of the exercises, to get excited about words and their power, and then read it a second time, devoting one week to each technique discussed.
I've gone through the first read already, and when I read it for a second time, I can't wait to kiss my clarity issues goodbye.
Clarity is one of my biggest problems in writing. I'm often write, unintentionally, "purple prose," vague sentences that might be beautiful and pleasing to the ear, but just don't get my point across. As someone who wants to write fiction for a living, that can't happen. At all. I don't want my readers to be confused for any reason. The moment my reader becomes confused, the moment they put down my book and cost me a sale.
Because of this desire to improve my clarity, I went out and bought this book, and I'm very glad I did.
Mastering the Craft of Writing by Stephen Wilbers is a very accessible guide to writing clearly, emphatically, and stylistically. Each of its short, fifty-two chapters discusses how to improve your writing on word-by-word, sentence-by-sentence, and paragraph-by-paragraph levels. Furthermore, Wilbers demonstrates his notable skills as a writer and teacher.
For example, in the "NOTE" section, notice that I crossed out the phrase, "With that said," and replaced it with "Therefore". The phrase "that said," is an example of a vogue expression, a filler phrase that doesn't really say much at all. In chapter 47 of Mastering the Craft, Wilbers encourages writers to use more precise language in place of vogue expressions, such as "therefore," "furthermore," etc.
However, I think using "that said" is okay sometimes---especially in fiction, where authors run into the possibility of having characters that don't speak with formal diction, or a narrator with tons of verbal tics and filler phrases. And what makes Mastering the Craft so good is that Wilbers acknowledges exceptions like this. In the last chapter, he discusses what it means for a writer to develop a persona, and how your word choices affect the impression you want to leave on your reader. Because I used "Therefore," I created a persona that is more formal to you, the reader, and it is this kind of thought process about your writing that will make it stronger.
The mark of a great writer is seen in those who lace purpose and intent behind every word they put down on paper, because they know, as Wilbers puts it, that "[w]riting is power" (290).
For advanced writers, or those who have read past classic texts on writing such as Strunk's The Elements of Style and Zinsser's On Writing Well, I expect that not much will be new to you. Wilbers refers to these and other texts on writing quite a bit. But for beginning, intermediate, or nearly advanced writers out there who want to to make sure their sentences do justice to their compositions as a whole---be it for business writing, technical writing, novel writing, or anything else, I recommend picking this one up (along with all the other great writing books Wilbers refers to). Like Wilbers recommends, read it once through without doing any of the exercises, to get excited about words and their power, and then read it a second time, devoting one week to each technique discussed.
I've gone through the first read already, and when I read it for a second time, I can't wait to kiss my clarity issues goodbye.
March 12, 2016
The book consists of fifty-two short lessons which are to be completed once a week over a year. These took me about half an hour, give or take, every Monday morning. I found myself forgetting about halfway, through, and just went through one a day until I finished.
The main point of the lessons is clarity—the right word in the right place at the right time. The author's tone is light, which kept the material from bogging down. This should be a valuable resource for people who want to sharpen their writing skills.
Please read the complete review here.
The main point of the lessons is clarity—the right word in the right place at the right time. The author's tone is light, which kept the material from bogging down. This should be a valuable resource for people who want to sharpen their writing skills.
Please read the complete review here.
April 30, 2015
Having read a fair number of books on writing, I wasn't expecting to learn much from Mastering the Craft of Writing. But it proved me wrong from the first lesson. There are 52 lessons, one for each week of the year. I have yet to complete the exercises found at the end of each lesson, but I plan on following the author's advice on rereading the book and tackling the exercises once a week. However, for now, even with a single, quick read-through, I feel more confident in my writing.
January 16, 2016
Seems more useful for business writing, the fiction advice is easily found elsewhere with greater clarity, emphasis and style. (Har har.) Found itself funnier than it really was, long-winded 'amusing' anecdotes with one good idea buried somewhere. Tedious focus on basic grammar, you'd be better off looking at Strunk & White for five minutes. Has an okay section on slogans if that's your thing.
October 3, 2016
This is a very interesting book. I have learned a lot from it as an author and I'm applying the lessons within my next book. Stephen challenges authors to use a broad vocabulary in their books. You won't be able to apply all the principles at once, but it will empower your writing skills.
August 7, 2014
Entertaining and thought provoking. a clever and well thought out structure. Wasn't quite what I was looking for, but a great present and a useful read.
August 24, 2025
One of the best writing books I’ve read! Highly recommend for writers of all genres, experience, and backgrounds!
Displaying 1 - 16 of 17 reviews