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賲爻賷乇鬲賷 賮賷 丕賱鬲兀賱賷賮 : 賲匕賰乇丕鬲 賴匕賴 丕賱氐賳毓丞
賮賷 丕賱毓丕賲 1999貙 亘丿兀 爻鬲賷賮賳 賰賷賳睾 賷賰鬲亘 毓賳 丨乇賮鬲賴 鈥� 賵丨賷丕鬲賴. 賵亘丨賱賵賱 賲賳鬲氐賮 丕賱毓丕賲貙 鈥徹关辟庂懾� 丨丕丿孬賹 丕賳鬲卮乇 禺亘乇賴 亘卮賰賱 賵丕爻毓 賴匕賷賳 丕賱兀賲乇賷賳 賱賱禺胤乇. 賵禺賱丕賱 兀卮賴乇 卮賮丕卅賴貙 鬲丨賵賾賱 鈥徹з勜必жㄘ� 亘賷賳 丕賱鬲兀賱賷賮 賵丕賱毓賷卮 賲氐賷乇賷丕賸 兀賰孬乇 賲賳 兀賷 賵賯鬲 賲囟賶.
鈥� 鈥� 鈥� 賳丕丿乇丕賸 賲丕 馗賴乇 賰鬲丕亘賹 毓賳 丕賱鬲兀賱賷賮 亘賴匕丕 丕賱賵囟賵丨貙 賵亘賴匕賴 丕賱賮丕卅丿丞貙 賵亘賴匕丕 丕賱睾賳賶. 賷亘丿兀 賴匕丕 丕賱賰鬲丕亘 鈥徹ㄘ池必� 賲購亘賴乇賺 賱胤賮賵賱丞 賰賷賳睾 賵鬲乇賰賷夭賴 丕賱賲購亘賰乇 亘卮賰賱 睾賷乇 賲兀賱賵賮 毓賱賶 丕賱鬲兀賱賷賮 賱賰賷 賷鬲賲賰賳 賲賳 鈥徹Ｙ� 賷乇賵賷 賯氐氐丕賸 孬賲 賷賯丿賲 爻賱爻賱丞 匕賰乇賷丕鬲 賳丕亘囟丞 亘丕賱丨賷賵賷丞 賲賳 賮鬲乇丞 丕賱賲乇丕賴賯丞貙 賵丕賱賰賱賾賷丞貙 鈥徺堌迟嗁堌ж� 丕賱賲賰丕賮丨丞 丕賱鬲賷 兀丿賾鬲 廿賱賶 乇賵丕賷鬲賴 丕賱兀賵賱賶貙 [賰丕乇賷]貙 爻鬲賵賮乇 賱賳丕 賲賳馗賵乇丕賸 噩丿賷丿丕賸 賵賲購囟丨賰丕賸 鈥徹з� 賮賷 兀睾賱亘 丕賱兀丨賷丕賳 丨賵賱 鬲卮賰購賾賱 賴匕丕 丕賱賰鬲丕亘. 賷賳鬲賯賱 亘毓丿賴丕 賰賷賳睾 廿賱賶 丕賱賰賱丕賲 毓賳 丕賱兀丿賵丕鬲 鈥徹з勜Ｘ池ж迟娯� 賱賲賴賳鬲賴 鈥� 賰賷賮賷丞 卮丨匕賴丕 賵賲囟丕毓賮鬲賴丕.
鈥� 鈥� 鈥� 賳丕丿乇丕賸 賲丕 馗賴乇 賰鬲丕亘賹 毓賳 丕賱鬲兀賱賷賮 亘賴匕丕 丕賱賵囟賵丨貙 賵亘賴匕賴 丕賱賮丕卅丿丞貙 賵亘賴匕丕 丕賱睾賳賶. 賷亘丿兀 賴匕丕 丕賱賰鬲丕亘 鈥徹ㄘ池必� 賲購亘賴乇賺 賱胤賮賵賱丞 賰賷賳睾 賵鬲乇賰賷夭賴 丕賱賲購亘賰乇 亘卮賰賱 睾賷乇 賲兀賱賵賮 毓賱賶 丕賱鬲兀賱賷賮 賱賰賷 賷鬲賲賰賳 賲賳 鈥徹Ｙ� 賷乇賵賷 賯氐氐丕賸 孬賲 賷賯丿賲 爻賱爻賱丞 匕賰乇賷丕鬲 賳丕亘囟丞 亘丕賱丨賷賵賷丞 賲賳 賮鬲乇丞 丕賱賲乇丕賴賯丞貙 賵丕賱賰賱賾賷丞貙 鈥徺堌迟嗁堌ж� 丕賱賲賰丕賮丨丞 丕賱鬲賷 兀丿賾鬲 廿賱賶 乇賵丕賷鬲賴 丕賱兀賵賱賶貙 [賰丕乇賷]貙 爻鬲賵賮乇 賱賳丕 賲賳馗賵乇丕賸 噩丿賷丿丕賸 賵賲購囟丨賰丕賸 鈥徹з� 賮賷 兀睾賱亘 丕賱兀丨賷丕賳 丨賵賱 鬲卮賰購賾賱 賴匕丕 丕賱賰鬲丕亘. 賷賳鬲賯賱 亘毓丿賴丕 賰賷賳睾 廿賱賶 丕賱賰賱丕賲 毓賳 丕賱兀丿賵丕鬲 鈥徹з勜Ｘ池ж迟娯� 賱賲賴賳鬲賴 鈥� 賰賷賮賷丞 卮丨匕賴丕 賵賲囟丕毓賮鬲賴丕.
296 pages, Paperback
First published June 2, 2000
17.6k people are currently reading
308k people want to read
About the author
Stephen King
2,581听books871k听followersStephen Edwin King was born the second son of Donald and Nellie Ruth Pillsbury King. After his father left them when Stephen was two, he and his older brother, David, were raised by his mother. Parts of his childhood were spent in Fort Wayne, Indiana, where his father's family was at the time, and in Stratford, Connecticut. When Stephen was eleven, his mother brought her children back to Durham, Maine, for good. Her parents, Guy and Nellie Pillsbury, had become incapacitated with old age, and Ruth King was persuaded by her sisters to take over the physical care of them. Other family members provided a small house in Durham and financial support. After Stephen's grandparents passed away, Mrs. King found work in the kitchens of Pineland, a nearby residential facility for the mentally challenged.
Stephen attended the grammar school in Durham and Lisbon Falls High School, graduating in 1966. From his sophomore year at the University of Maine at Orono, he wrote a weekly column for the school newspaper, THE MAINE CAMPUS. He was also active in student politics, serving as a member of the Student Senate. He came to support the anti-war movement on the Orono campus, arriving at his stance from a conservative view that the war in Vietnam was unconstitutional. He graduated in 1970, with a B.A. in English and qualified to teach on the high school level. A draft board examination immediately post-graduation found him 4-F on grounds of high blood pressure, limited vision, flat feet, and punctured eardrums.
He met Tabitha Spruce in the stacks of the Fogler Library at the University, where they both worked as students; they married in January of 1971. As Stephen was unable to find placement as a teacher immediately, the Kings lived on his earnings as a laborer at an industrial laundry, and her student loan and savings, with an occasional boost from a short story sale to men's magazines.
Stephen made his first professional short story sale ("The Glass Floor") to Startling Mystery Stories in 1967. Throughout the early years of his marriage, he continued to sell stories to men's magazines. Many were gathered into the Night Shift collection or appeared in other anthologies.
In the fall of 1971, Stephen began teaching English at Hampden Academy, the public high school in Hampden, Maine. Writing in the evenings and on the weekends, he continued to produce short stories and to work on novels.
Stephen attended the grammar school in Durham and Lisbon Falls High School, graduating in 1966. From his sophomore year at the University of Maine at Orono, he wrote a weekly column for the school newspaper, THE MAINE CAMPUS. He was also active in student politics, serving as a member of the Student Senate. He came to support the anti-war movement on the Orono campus, arriving at his stance from a conservative view that the war in Vietnam was unconstitutional. He graduated in 1970, with a B.A. in English and qualified to teach on the high school level. A draft board examination immediately post-graduation found him 4-F on grounds of high blood pressure, limited vision, flat feet, and punctured eardrums.
He met Tabitha Spruce in the stacks of the Fogler Library at the University, where they both worked as students; they married in January of 1971. As Stephen was unable to find placement as a teacher immediately, the Kings lived on his earnings as a laborer at an industrial laundry, and her student loan and savings, with an occasional boost from a short story sale to men's magazines.
Stephen made his first professional short story sale ("The Glass Floor") to Startling Mystery Stories in 1967. Throughout the early years of his marriage, he continued to sell stories to men's magazines. Many were gathered into the Night Shift collection or appeared in other anthologies.
In the fall of 1971, Stephen began teaching English at Hampden Academy, the public high school in Hampden, Maine. Writing in the evenings and on the weekends, he continued to produce short stories and to work on novels.
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December 18, 2019
鈥漌riting isn鈥檛 about making money, getting famous, getting dates, getting laid, or making friends. In the end, it鈥檚 about enriching the lives of those who will read your work, and enriching your own life, as well. It鈥檚 about getting up, getting well, and getting over. Getting happy okay? Getting happy.鈥�
I can鈥檛 tell you how many people I鈥檝e talked to over my lifetime who wanted to write a book. Most didn鈥檛 know what they wanted to write about, but some of them wanted to write their autobiography because their life had been so thrilling. I think my life has been reasonably boring, and it usually turns out that my life has been ten times more exciting than theirs. When situations like this happen to me, it is usually mildly amusing, but it can quickly turn to sneering when the person reveals to me that they don鈥檛 have time to read or don鈥檛 really like to read.
Don鈥檛 talk to me about writing a book if you don鈥檛 read.
Don鈥檛 talk to me about NOT having time to read.
What does Stephen King have to say about this?
鈥滻f you want to be a writer, you must do two things above all others: read a lot and write a lot. There鈥檚 no way around those two things鈥�.鈥�
Now, why would someone not want to read? Maybe it depends on when they were born. 鈥滲ut TV came relatively late to the King household, and I鈥檓 glad. I am, when you stop to think of it, a member of a fairly select group: the final handful of American novelists who learned to read and write before they learned to eat a daily helping of video bullshit.鈥�
Now someone needs to wrap me in cellophane and stand me up in a museum because I鈥檓 probably one of the youngest members of that elite group. I grew up on a farm in the middle of bumfrilling Kansas, where a twenty foot antenna could only pull in three TV channels and one of those channels rolled most of the time. TV had no real impact on my life until I left home at the age of 18 and moved to Phoenix.
Thank Zeus!!
Now I have young, wannabe writers writing me from all over the world, sending me links to 鈥渉ilarious鈥� YouTube videos, or they talk to me about binging all weekend on a Netflix show. They are completely enamored with spoon fed entertainment, and what they find funny is to me like paddling around in the kiddy pool of humor in the book world.
I wonder why I鈥檓 so grumpy.
鈥滱 novel like The Grapes of Wrath may fill a new writer with feelings of despair and good old-fashioned jealousy---鈥橧鈥檒l never be able to write anything that good, not if I live to be a thousand鈥�---but such feelings can also serve as a spur, goading the writer to work harder and aim higher.鈥�
I can鈥檛 tell you how many times I鈥檝e felt that way. Whenever I read a wonderful book like The Great Gatsby or meet a character like Atticus Finch, I fall on my bed and stare at the ceiling and think why am I harboring any thoughts that I can write a novel? My problem, of course, is that I don鈥檛 want to just write a novel. I want to write a fantastic novel. I don鈥檛 want to just entertain people; I want them to feel the socks ripped off their feet and have them floating around in the air around their head when they read my novel.
Stephen King will go into a time when he was struggling with alcohol and using drugs, or should I say abusing drugs. He will tell you all about the accident that nearly ended his life, which happened while he was writing this book. He will talk about trials and tribulations. He will recommend books. There is a whole list of modern books in the back of this book that impressed the hell out of him and impacted his writing. The point is, of course, that even though he is probably the most famous writer on the planet, he is still learning, still enjoying reading, and still writing every day.
I take a book everywhere I go. I take a book with me to work every day and read a page or two while my computer is booting up. I have a book with me all the time because I never know when I will be sitting in road work or waiting on a doctor or gleefully reading, in the glow of my flashlight beam on the pages of my book, waiting for the power to come back on at work.
I live to read. I live to write. I fornicate somewhere in the middle.
This has been one of the most inspiring books about writing I鈥檝e ever read. King talked about examples of the work ethics of writers, but the one that resonated with me the most was Anthony Trollope. He used to write, EXACTLY, for two and half hours every day before going to the post office. If his writing time was up, he would stop in the middle of a sentence and head to work. If he finished a novel fifteen minutes before his time was up, he wrote THE END and started immediately into his next novel. It brought tears to my eyes because that is what it means to be a writer...dedication to the craft.
If you want to get rich, go be a frilling stock broker. If you want to write, then turn the squawk box off and search for those buried fossils in the words swimming around in your head. King calls good ideas fossils. For me writing is more like when Michelangelo used to lay his head on a block of marble and listened to the voices in the stone that wanted to be freed. All you have to do is chisel those characters free, and give them life.
If you wish to see more of my most recent book and movie reviews, visit
I also have a Facebook blogger page at:
I can鈥檛 tell you how many people I鈥檝e talked to over my lifetime who wanted to write a book. Most didn鈥檛 know what they wanted to write about, but some of them wanted to write their autobiography because their life had been so thrilling. I think my life has been reasonably boring, and it usually turns out that my life has been ten times more exciting than theirs. When situations like this happen to me, it is usually mildly amusing, but it can quickly turn to sneering when the person reveals to me that they don鈥檛 have time to read or don鈥檛 really like to read.
Don鈥檛 talk to me about writing a book if you don鈥檛 read.
Don鈥檛 talk to me about NOT having time to read.
What does Stephen King have to say about this?
鈥滻f you want to be a writer, you must do two things above all others: read a lot and write a lot. There鈥檚 no way around those two things鈥�.鈥�
Now, why would someone not want to read? Maybe it depends on when they were born. 鈥滲ut TV came relatively late to the King household, and I鈥檓 glad. I am, when you stop to think of it, a member of a fairly select group: the final handful of American novelists who learned to read and write before they learned to eat a daily helping of video bullshit.鈥�
Now someone needs to wrap me in cellophane and stand me up in a museum because I鈥檓 probably one of the youngest members of that elite group. I grew up on a farm in the middle of bumfrilling Kansas, where a twenty foot antenna could only pull in three TV channels and one of those channels rolled most of the time. TV had no real impact on my life until I left home at the age of 18 and moved to Phoenix.
Thank Zeus!!
Now I have young, wannabe writers writing me from all over the world, sending me links to 鈥渉ilarious鈥� YouTube videos, or they talk to me about binging all weekend on a Netflix show. They are completely enamored with spoon fed entertainment, and what they find funny is to me like paddling around in the kiddy pool of humor in the book world.
I wonder why I鈥檓 so grumpy.
鈥滱 novel like The Grapes of Wrath may fill a new writer with feelings of despair and good old-fashioned jealousy---鈥橧鈥檒l never be able to write anything that good, not if I live to be a thousand鈥�---but such feelings can also serve as a spur, goading the writer to work harder and aim higher.鈥�
I can鈥檛 tell you how many times I鈥檝e felt that way. Whenever I read a wonderful book like The Great Gatsby or meet a character like Atticus Finch, I fall on my bed and stare at the ceiling and think why am I harboring any thoughts that I can write a novel? My problem, of course, is that I don鈥檛 want to just write a novel. I want to write a fantastic novel. I don鈥檛 want to just entertain people; I want them to feel the socks ripped off their feet and have them floating around in the air around their head when they read my novel.
Stephen King will go into a time when he was struggling with alcohol and using drugs, or should I say abusing drugs. He will tell you all about the accident that nearly ended his life, which happened while he was writing this book. He will talk about trials and tribulations. He will recommend books. There is a whole list of modern books in the back of this book that impressed the hell out of him and impacted his writing. The point is, of course, that even though he is probably the most famous writer on the planet, he is still learning, still enjoying reading, and still writing every day.
I take a book everywhere I go. I take a book with me to work every day and read a page or two while my computer is booting up. I have a book with me all the time because I never know when I will be sitting in road work or waiting on a doctor or gleefully reading, in the glow of my flashlight beam on the pages of my book, waiting for the power to come back on at work.
I live to read. I live to write. I fornicate somewhere in the middle.
This has been one of the most inspiring books about writing I鈥檝e ever read. King talked about examples of the work ethics of writers, but the one that resonated with me the most was Anthony Trollope. He used to write, EXACTLY, for two and half hours every day before going to the post office. If his writing time was up, he would stop in the middle of a sentence and head to work. If he finished a novel fifteen minutes before his time was up, he wrote THE END and started immediately into his next novel. It brought tears to my eyes because that is what it means to be a writer...dedication to the craft.
If you want to get rich, go be a frilling stock broker. If you want to write, then turn the squawk box off and search for those buried fossils in the words swimming around in your head. King calls good ideas fossils. For me writing is more like when Michelangelo used to lay his head on a block of marble and listened to the voices in the stone that wanted to be freed. All you have to do is chisel those characters free, and give them life.
If you wish to see more of my most recent book and movie reviews, visit
I also have a Facebook blogger page at:
December 16, 2015
Let's be honest: Stephen King is not one of the greatest writers of all time. He will never win a Pulitzer or a Nobel (he might win a Newberry though, if he ever decides to tap into the Kids/Young Adult market), and on the few times his books are featured in the New York Times Book Review, the reviewer will treat the book with a sort of haughty disdain, knowing their time could be better spent trashing Joyce Carol Oates.
None of this should suggest, however, that King is not qualified to write a book about how to write. Sure, he churns out pulpy horror stories that are proudly displayed in airport bookstores, but the man knows how to write a good story, and he's probably one of the most well-known, non-dead American authors in the world. So he must be doing something right.
I'm not the biggest fan of King's books, but I really enjoyed On Writing. He talks about writing frankly and practically, mixing tried-and-true pieces of advice (fear the adverb, never write "replied/remarked/muttered/yelled etc" when you can write "said", and don't be afraid to kill off your favorite character) with anecdotes about how some of his books came about. I especially liked the story behind Carrie: King was working as a janitor at a high school, and one night he was cleaning the girls' locker room. He asked the other janitor what that little metal dispenser box on the wall was, and the other man replied that it was for "pussy pluggers." At the same time, King had been reading about how psychic abilities often manifest in girls just beginning to go through puberty. He combined the two ideas and wrote out a couple pages that would turn into the opening of Carrie. (if you haven't read it you should.) Many thanks to King's wife, who rescued the pages from the wastebasket after King first decided that the idea was stupid and threw them away.
So, in conclusion: even if you aren't a fan of Stephen King's work, he has some very good advice about writing and storytelling, plus some good stories of his own. Sure, you can call him a sellout. But I like him.
Also, he once said in an interview that Stephenie Meyer "can't write worth a darn." You stay classy, Mr. King.
None of this should suggest, however, that King is not qualified to write a book about how to write. Sure, he churns out pulpy horror stories that are proudly displayed in airport bookstores, but the man knows how to write a good story, and he's probably one of the most well-known, non-dead American authors in the world. So he must be doing something right.
I'm not the biggest fan of King's books, but I really enjoyed On Writing. He talks about writing frankly and practically, mixing tried-and-true pieces of advice (fear the adverb, never write "replied/remarked/muttered/yelled etc" when you can write "said", and don't be afraid to kill off your favorite character) with anecdotes about how some of his books came about. I especially liked the story behind Carrie: King was working as a janitor at a high school, and one night he was cleaning the girls' locker room. He asked the other janitor what that little metal dispenser box on the wall was, and the other man replied that it was for "pussy pluggers." At the same time, King had been reading about how psychic abilities often manifest in girls just beginning to go through puberty. He combined the two ideas and wrote out a couple pages that would turn into the opening of Carrie. (if you haven't read it you should.) Many thanks to King's wife, who rescued the pages from the wastebasket after King first decided that the idea was stupid and threw them away.
So, in conclusion: even if you aren't a fan of Stephen King's work, he has some very good advice about writing and storytelling, plus some good stories of his own. Sure, you can call him a sellout. But I like him.
Also, he once said in an interview that Stephenie Meyer "can't write worth a darn." You stay classy, Mr. King.
March 31, 2024
(A) 87% | Extraordinary
Notes: The first novel-length book I'd ever finished over the span of one day. Done over two sittings, with a nap in between.
Notes: The first novel-length book I'd ever finished over the span of one day. Done over two sittings, with a nap in between.
Read
January 1, 2025
On Writing: A Memoir of the Craft - Superb, absolutely superb. I've listened to Stephen King read his audio book three times. I can't recommend highly enough.
Since I'm on the cusp of posting 1,000 reviews here on 欧宝娱乐, I'd like to share my own thoughts on writing book reviews and link my reflections with Stephen King's wisdom on the craft of writing.
鈥淵ou cannot hope to sweep someone else away by the force of your writing until it has been done to you.鈥�
I recall back when I was in my 20s and 30s, reading book reviews in the New York Times and Philadelphia Inquirer and thinking, oh, if I only had the opportunity to write book reviews. I so much love book reviews! I was truly swept away by well-crafted book reviews.
Of course, with Amazon and now 欧宝娱乐, all that has changed. Eight years ago I seized the opportunity to write online book reviews. I instantly fell in love with writing book reviews and made the commitment back then to post two book reviews a week. Anyway, I honed the craft of writing book reviews by writing and multiple rewrites until I took great joy in reading my own reviews. This to say, Stephen King is so right here - work away until your writing gives YOU joy to read. That way, your writing stands a better chance of giving pleasure to others.
鈥淚'm a slow reader, but I usually get through seventy or eighty books a year, most fiction. I don't read in order to study the craft; I read because I like to read鈥�
The key here is LOVE reading books. Like Stephen, I'm a slow reader but as a dedicated book reviewer I read lots of books every year. And like Stephen, I enjoy listening to audio books.
Fortunately, I have two abilities that help greatly as a book reviewer: 1) I can easily become absorbed in a book, especially a novel, really absorbed, as if I'm living heart and mind in the unfolding story, and 2) both my short-term and long-term memory are excellent for fiction. I can remember the details of the novels I've read 50 years ago as if I read them yesterday, an ability that comes in mighty handy when writing reviews.
鈥淚f you want to be a writer, you must do two things above all others: read a lot and write a lot. There's no way around these two things that I'm aware of, no shortcut.鈥�
So true, Stephen! I so much look forward to writing when I wake up in the morning (understatement). And I've built up my endurance to the point where I have no problem writing 2 or 3 or 4 or even 5 or 6 hours at a time. For me, it's not a job grinding it out but rather a continual joy. I echo the great Argentinian author Fernando Sorrentino who said he would never let writing become a job. Worth repeating: never let your writing sink to the level of becoming a job.
鈥淭o write is human, to edit is divine.鈥�
Spot-on, sir! The key is to take delight in revisiting your writing again and again, reading it aloud to make sure the rhythms are smooth not clunky (the ear has it all over the eye when it comes to judging rhythm).
When I first began writing book reviews, here's what I did: I wrote out great book reviews written by such authors as John Updike, Michiko Kakutani and James Wood, wrote them out word for word just to get the feel for what it's like to write a great review. I also used a digital device to record their reviews and I listened while taking my walks. After a few months, I recorded my own book reviews, alternating with the great writers' reviews until I was satisfied with my writing - my rhythm, vocabulary, use of examples and metaphor.
鈥淵our job isn't to find these ideas but to recognize them when they show up.鈥�
For a book reviewer, this means to be keenly aware of the book you are reading. Underline passages as you read, take notes, read some of the book aloud to get a deeper feel for the author's voice, reread pages or chapters or sections you feel are particularly important so as not to miss the subtleties of character, the nuances of atmosphere along with the author's overall vision.
鈥淚f you intend to write as truthfully as you can, your days as a member of polite society are numbered.鈥�
If others think you a bookworm or egghead or oddball or goofball (I've frequently been judged all of these), that's their issue not yours. If possible, avoid people who discourage you from reading and/or writing. Cultivate solitude, become your own best friend, make books your friends, make authors your friends, let the creative act of reading and writing become a shining polestar in your life.
鈥淭he scariest moment is always just before you start.鈥�
I think Stephen is thinking of those who want to write a short story or, most particularly, those who set out or are in the process of writing a novel. For me, there are no scary moments in the process of writing book reviews - not at the start, not at the end nor anything in between. So saying, I'll post this review.
January 2, 2010
I know it's like saying "puppies are cute," but it bears repeating: everyone who wants to write, whether for a living or not, simply must read this book.
On Writing did more for me as a writer than anything, and any success I've found as a storyteller can be traced to my reading it.
On Writing did more for me as a writer than anything, and any success I've found as a storyteller can be traced to my reading it.
Read
October 3, 2024I learned a few things about writing, but my key takeaways are that I鈥檓 going to start saying I have to 鈥減ush鈥� when I need to go to the bathroom, and that Stephen King sure does love his wife. And I sure do love him.
July 26, 2020
Un libro imprescincible para cualquier escritor.
No soy muy fan de libros tipo 'autoayuda', porque siento que su tono es condescendiente. No soy fan, en general, de gente que se cree por encima de ti y decide prestar su valioso tiempo en ense帽arte lo que sabe, pero dej谩ndote claro que su 茅xito es inalcanzable. Ten铆a miedo de que Mientras escribo fuera a ser as铆, y no lo ha sido para nada.
Stephen King es uno de los autores m谩s prol铆ficos y mejor valorados de la era contempor谩nea. La gente le encasilla en el terror, pero ha escrito desde thrillers a novelas polic铆acas, ciencia ficci贸n y fantas铆a. Es, como unos amigos m铆os dec铆an hace muchos a帽os, el Maestro del Ser Humano. Tiene un don para los di谩logos, para conectar con el lector, para crear personajes y sobre todo, para hacerte sentir algo, sea bueno o malo.
En Mientras escribo vamos a encontrarnos un libro diferente a todo lo que hayas le铆do. No es una gu铆a, ni un libro de estilo, ni una biograf铆a, ni un libro inspiracional. Es todo eso junto, mezclado, y el batiburrillo hace que sea incre铆ble. Pero vaya, 驴qu茅 pod铆amos esperar del se帽or King? Tampoco es un libro para todo el mundo, como 茅l mismo dice claramente en varias ocasiones. Es un libro para escritores: para aquellos que ya hayan escrito, o los que quieran empezar, o los que sientan que no lo necesitas. Es un libro para cualquier persona que sienta fluir el poder de las palabras en sus venas.
El estilo de King es, como siempre, directo. No escatima en palabrotas o en decirte las cosas a la cara. Si siente que un autor o un concepto es una chorrada o una estupidez, te lo va a decir. Y te va a explicar por qu茅. Y, lo mejor de todo, es que al final le vas a terminar dando la raz贸n. En concreto, respecto a los cap铆tulos donde habla de las 'herramientas' de escribir, vas a quedarte a cuadros con sus explicaciones. Adem谩s, una de las cosas que me gusta es que no es solo su experiencia, sino que analiza los textos de otras personas, pone ejemplos e incluso cita libros de teor铆a del lenguaje para que veas que no est谩 loco.
Sin duda alguna el principio puede resultar confuso. 驴Por qu茅 Stephen King me est谩 contando su infancia? 驴Qu茅 me importa que haya tenido problemas en el o铆do o que casi muera en un accidente? Pues, querides amigues, sin esa parte este libro no tendr铆a sentido. No solo te deja ver que ser escritor es casi de nacimiento, que desde ni帽o sinti贸 la necesidad de absorber historias y de tambi茅n crearlas, sino c贸mo la escritura le salv贸 y c贸mo ser escritor no es un camino de rosas. Su historia de vida es de estas que podr铆as escuchar durante horas, no solo por interesante, sino por significativa.
He aprendido much铆simo con este libro. Hab铆a cosas que ya conoc铆a de 茅l (como que es muy propenso a ser simple, directo, en sus libros, porque cree que hay cosas m谩s importantes que hacer que poner adverbios o palabras rimbombantes), pero no conoc铆a su justificaci贸n al completo. Gracias a este libro tan extra帽o he aprendido a apreciar cosas que jam谩s me hab铆a parado a pensar, pero sobre todo me ha dado ideas y un chute de energ铆a brutal. Era el libro que necesitaba en este momento.
Mientras escribo es un libro inteligente que, sin pausa, y mezclando churros con meninas consigue ense帽arte y mejorarte como escritor sin que te des cuenta. Eso s铆: es un libro que dice las cosas como son. Al fin y al cabo, es Stephen King. (Y si sois fans de 茅l, cuenta secretos muy interesantes sobre algunas de sus novelas m谩s famosas, as铆 como su forma de trabajar. Concretamente habla bastante de Carrie, Misery, El resplandor, El misterio de Salem's Lot y algunos de sus relatos m谩s famosos en el momento de escritura del libro.)
No soy muy fan de libros tipo 'autoayuda', porque siento que su tono es condescendiente. No soy fan, en general, de gente que se cree por encima de ti y decide prestar su valioso tiempo en ense帽arte lo que sabe, pero dej谩ndote claro que su 茅xito es inalcanzable. Ten铆a miedo de que Mientras escribo fuera a ser as铆, y no lo ha sido para nada.
Stephen King es uno de los autores m谩s prol铆ficos y mejor valorados de la era contempor谩nea. La gente le encasilla en el terror, pero ha escrito desde thrillers a novelas polic铆acas, ciencia ficci贸n y fantas铆a. Es, como unos amigos m铆os dec铆an hace muchos a帽os, el Maestro del Ser Humano. Tiene un don para los di谩logos, para conectar con el lector, para crear personajes y sobre todo, para hacerte sentir algo, sea bueno o malo.
En Mientras escribo vamos a encontrarnos un libro diferente a todo lo que hayas le铆do. No es una gu铆a, ni un libro de estilo, ni una biograf铆a, ni un libro inspiracional. Es todo eso junto, mezclado, y el batiburrillo hace que sea incre铆ble. Pero vaya, 驴qu茅 pod铆amos esperar del se帽or King? Tampoco es un libro para todo el mundo, como 茅l mismo dice claramente en varias ocasiones. Es un libro para escritores: para aquellos que ya hayan escrito, o los que quieran empezar, o los que sientan que no lo necesitas. Es un libro para cualquier persona que sienta fluir el poder de las palabras en sus venas.
El estilo de King es, como siempre, directo. No escatima en palabrotas o en decirte las cosas a la cara. Si siente que un autor o un concepto es una chorrada o una estupidez, te lo va a decir. Y te va a explicar por qu茅. Y, lo mejor de todo, es que al final le vas a terminar dando la raz贸n. En concreto, respecto a los cap铆tulos donde habla de las 'herramientas' de escribir, vas a quedarte a cuadros con sus explicaciones. Adem谩s, una de las cosas que me gusta es que no es solo su experiencia, sino que analiza los textos de otras personas, pone ejemplos e incluso cita libros de teor铆a del lenguaje para que veas que no est谩 loco.
Sin duda alguna el principio puede resultar confuso. 驴Por qu茅 Stephen King me est谩 contando su infancia? 驴Qu茅 me importa que haya tenido problemas en el o铆do o que casi muera en un accidente? Pues, querides amigues, sin esa parte este libro no tendr铆a sentido. No solo te deja ver que ser escritor es casi de nacimiento, que desde ni帽o sinti贸 la necesidad de absorber historias y de tambi茅n crearlas, sino c贸mo la escritura le salv贸 y c贸mo ser escritor no es un camino de rosas. Su historia de vida es de estas que podr铆as escuchar durante horas, no solo por interesante, sino por significativa.
He aprendido much铆simo con este libro. Hab铆a cosas que ya conoc铆a de 茅l (como que es muy propenso a ser simple, directo, en sus libros, porque cree que hay cosas m谩s importantes que hacer que poner adverbios o palabras rimbombantes), pero no conoc铆a su justificaci贸n al completo. Gracias a este libro tan extra帽o he aprendido a apreciar cosas que jam谩s me hab铆a parado a pensar, pero sobre todo me ha dado ideas y un chute de energ铆a brutal. Era el libro que necesitaba en este momento.
Mientras escribo es un libro inteligente que, sin pausa, y mezclando churros con meninas consigue ense帽arte y mejorarte como escritor sin que te des cuenta. Eso s铆: es un libro que dice las cosas como son. Al fin y al cabo, es Stephen King. (Y si sois fans de 茅l, cuenta secretos muy interesantes sobre algunas de sus novelas m谩s famosas, as铆 como su forma de trabajar. Concretamente habla bastante de Carrie, Misery, El resplandor, El misterio de Salem's Lot y algunos de sus relatos m谩s famosos en el momento de escritura del libro.)
February 4, 2020
So it's become very clear to me now that very few writers actually write about the craft. The only Latin American writer to do so? Mario Vargas Llosa (who took several years off of his busy novel-writing to write about his now-ex-pal Gabriel Garcia Marquez). But I suddenly forgot who the King was (no, I mean literally: I've not read him in years! High school being the prime time for Stephen King, & all): the guy has useful insight, no shit, because he is not only prolific & uber-successful (he got $400,000 for his first novel 鈥淐arrie鈥�!), but because, let鈥檚 all admit it, he鈥檚 pretty damn good. Maybe prose is not the forte per se, but story sure is (think of how many times he has tapped the vein of the zeitgeist to produce visceral, emblematic and modern monsters). It's interesting to compare this with the only other non-fiction I鈥檝e read of late, 鈥淭he Perpetual Orgy鈥� & 鈥淟etters to a Young Novelist鈥� by the already mentioned Peruvian auteur. They both (Vargas Llosa and King) tell us to seriously commit to writing, to write, write, write, write, WRITE, but, even more splendidly, they endorse heavy reading (duh!). I love Stephen King quotes, like this little morsel of truth: 鈥淚f you don鈥檛 have the time to read, you don鈥檛 have the time or the tools to write.鈥� Take that, non-reading punks verging-perilously-close-to-ignoramuses! !
Let me recall some of the stuff I鈥檝e learned (the rest has been absorbed as if by osmosis): 1) rewrite at least two times once the novel has been completed, 2) write & read for at least 5 hours every single day, 3) IMPORTANT: look for an editor (they are eager for new talent, King says), 4) VERY IMPORTANT: begin a serious submitting process (L. Williford has always emphasized the importance of this!), 5) write solely to your IR (Ideal Reader)鈥� it's all super helpful. Perhaps the 鈥淭oolbox鈥� section is its weakest part (inversely, MVL鈥檚 bag of tricks is on glorious display in 鈥淟etters鈥� [though he never mentions the publishing process like King does])鈥� going over rudimentary English is, I am forced to admit, quite lame. But King does seem enthusiastic throughout as only the best teachers are in the classroom鈥攈is tone is one of (slight) optimism for the developing novelist. He cheers you on (THE Stephen King!) !!! Bottom line: INVALUABLE stuff, a few (awesome for the fans) confessional tidbits, & some golly-good pointers.
Let me recall some of the stuff I鈥檝e learned (the rest has been absorbed as if by osmosis): 1) rewrite at least two times once the novel has been completed, 2) write & read for at least 5 hours every single day, 3) IMPORTANT: look for an editor (they are eager for new talent, King says), 4) VERY IMPORTANT: begin a serious submitting process (L. Williford has always emphasized the importance of this!), 5) write solely to your IR (Ideal Reader)鈥� it's all super helpful. Perhaps the 鈥淭oolbox鈥� section is its weakest part (inversely, MVL鈥檚 bag of tricks is on glorious display in 鈥淟etters鈥� [though he never mentions the publishing process like King does])鈥� going over rudimentary English is, I am forced to admit, quite lame. But King does seem enthusiastic throughout as only the best teachers are in the classroom鈥攈is tone is one of (slight) optimism for the developing novelist. He cheers you on (THE Stephen King!) !!! Bottom line: INVALUABLE stuff, a few (awesome for the fans) confessional tidbits, & some golly-good pointers.
December 17, 2007
I read this shortly after finishing NaNoWriMo (National Novel Writing Month) this year, actually it would be more accurate to say I devoured it. This is full of great writing advice, and I'll need to get a copy and read it 1-2 times a year. Most helpful? The section on grammar! Seriously, I never really learned grammar.
"Gould said something else that was interesting on the day I turned in my first two pieces: write with the door closed, rewrite with the door open. Your stuff starts out being just for you, in other words, but then it goes out. Once you know what the story is and get it right - as right as you can, anyway - it belongs to anyone who wants to read it."
"...The writer's original perception of a character or characters may be erroneous as the reader's. Running a close second was the realization that stopping a piece of work just because it's hard, either emotionally or imaginatively, is a bad idea. Sometimes you have to go on when you don't feel like it, and sometimes you're doing good work when it feels like all you're managing is to shovel shit from a sitting position."
"You can approach the act of writing with nervousness, excitement, hopefulness, or even despair - the sense that you can never completely put on the page what's in your mind and heart. You can come to the act with your fists clenched and your eyes narrowed, ready to kick ass and take down names. You can come to it because you want a girl to marry you or because you want to change the world. Come to it any way but lightly."
"The object of fiction isn't grammatical correctness but to make the reader welcome and then tell a story.... Writing is seduction. Good talk is part of seduction."
"Once I start work on a project, I don't stop and I don't slow down unless I absolutely have to. If I don't write every day, the characters begin to stale off in my mind - they begin to seem like characters instead of real people. The tale's narrative cutting edge starts to rust and I begin to lose my hold on the story's plot and pace. Worst of all, the excitement of spinning something new begins to fade. The work starts to feel like work, and for most writers that is the smooch of death."
"If I have to tell you, I lose. If, on the other hand, I can show you a silent, dirty-haired woman who compulsively gobbles cake and candy, then have you draw the conclusion that Annie is in the depressive part of a manic-depressive cycle, I win. And if I am able, even briefly, to give you a Wilkes'-eye-view of the world - if I can make you understand her madness - then perhaps I can make her someone you sympathize with or even identify with. The result? She's more frightening than ever, because she's close to real."
"What you should probably be doing is writing as fast as the Gingerbread Man runs, getting that first draft down on paper while the shape of the fossil is still bright and clear in your mind."
"The scariest moment is always just before you start. After that, things can only get better."
"Writing is magic, as much the water of life as any other creative art. The water is free. So drink. Drink and be filled up."
"Reading is the creative center of a writer's life."
"Gould said something else that was interesting on the day I turned in my first two pieces: write with the door closed, rewrite with the door open. Your stuff starts out being just for you, in other words, but then it goes out. Once you know what the story is and get it right - as right as you can, anyway - it belongs to anyone who wants to read it."
"...The writer's original perception of a character or characters may be erroneous as the reader's. Running a close second was the realization that stopping a piece of work just because it's hard, either emotionally or imaginatively, is a bad idea. Sometimes you have to go on when you don't feel like it, and sometimes you're doing good work when it feels like all you're managing is to shovel shit from a sitting position."
"You can approach the act of writing with nervousness, excitement, hopefulness, or even despair - the sense that you can never completely put on the page what's in your mind and heart. You can come to the act with your fists clenched and your eyes narrowed, ready to kick ass and take down names. You can come to it because you want a girl to marry you or because you want to change the world. Come to it any way but lightly."
"The object of fiction isn't grammatical correctness but to make the reader welcome and then tell a story.... Writing is seduction. Good talk is part of seduction."
"Once I start work on a project, I don't stop and I don't slow down unless I absolutely have to. If I don't write every day, the characters begin to stale off in my mind - they begin to seem like characters instead of real people. The tale's narrative cutting edge starts to rust and I begin to lose my hold on the story's plot and pace. Worst of all, the excitement of spinning something new begins to fade. The work starts to feel like work, and for most writers that is the smooch of death."
"If I have to tell you, I lose. If, on the other hand, I can show you a silent, dirty-haired woman who compulsively gobbles cake and candy, then have you draw the conclusion that Annie is in the depressive part of a manic-depressive cycle, I win. And if I am able, even briefly, to give you a Wilkes'-eye-view of the world - if I can make you understand her madness - then perhaps I can make her someone you sympathize with or even identify with. The result? She's more frightening than ever, because she's close to real."
"What you should probably be doing is writing as fast as the Gingerbread Man runs, getting that first draft down on paper while the shape of the fossil is still bright and clear in your mind."
"The scariest moment is always just before you start. After that, things can only get better."
"Writing is magic, as much the water of life as any other creative art. The water is free. So drink. Drink and be filled up."
"Reading is the creative center of a writer's life."
August 31, 2024
Nu-mi plac romanele lui Stephen King (n. 21 septembrie 1947). Cred c膬 nici lui nu-i plac foarte tare. I-au adus avere (net worth), notorietate, 葯i asta e tot ceea ce conteaz膬 p卯n膬 la urm膬 (m膬car pentru el).
Nu pot s膬 neg 卯ns膬 c膬 este un prozator profesionist, cum nu s卯nt prea mul葲i 卯n spa葲iul moldo-vlah. Sfaturile lui pot fi de mare folos celor care ar dori s膬 se 鈥瀎ac膬鈥� scriitori (葯i s膬 c卯葯tige bani mul葲i, f膬r膬 num膬r, bani cu nemiluita...), de葯i scrisul nu este meseria cea mai b膬noas膬 din lume, e mai bine s膬 lansezi sateli葲i pe orbit膬 ca Elon Musk 葯i s膬 debitezi t卯mpenii. Foarte pu葲ini prozatori ajung la veniturile lui King.
脦n pofida r卯ndurilor de mai sus, observa葲iile prozatorului american s卯nt mereu utile 葯i rezonabile. Nu-i simplu s膬 fii scriitor, e o meserie horror, crede葲i-m膬, dar po葲i 卯nv膬葲a s膬 potrive葯ti cuvintele prin reflec葲ie 葯i printr-un exerci葲iu perseverent. Asta 卯nseamn膬 s膬 stai la masa de scris cel pu葲in 5 ore pe zi. Philip Roth st膬tea 8. S膬 reflect膬m, deci, la 卯ndemnurile lui King:
1. 鈥濪ac膬 vre牛i s膬 fi牛i scriitori, trebuie, mai presus de toate, s膬 face牛i dou膬 lucruri: citi牛i mult 艧i scrie牛i mult. Nu cunosc nici un mod de a ocoli aceste dou膬 lucruri, nici o scurt膬tur膬. Eu s卯nt un cititor lent, dar reu艧esc de obicei s膬 parcurg 艧aptezeci sau optzeci de c膬r牛i pe an, majoritatea romane. Nu citesc cu g卯ndul de-a 卯nv膬牛a meserie; citesc pentru c膬-mi place s膬 citesc鈥�.
2. Un exemplu ilustru de muncitor: 鈥濧nthony Trollope scria romane urie艧e艧ti 艧i le scotea pe band膬 cu o surprinz膬toare regularitate. Era func牛ionar la Departamentul Po艧tal Britanic (cutiile po艧tale ro艧ii r膬sp卯ndite 卯n toat膬 Marea Britanie au fost inven牛ia lui Anthony Trollope); scria vreme de dou膬 ore 艧i jum膬tate 卯n fiecare diminea牛膬 卯nainte s膬 plece la serviciu. Orarul acesta era b膬tut 卯n cuie. Dac膬 se afla la mijlocul unei propozi牛ii c卯nd expirau cele dou膬 ore 艧i jum膬tate, l膬sa propozi牛ia neterminat膬 p卯n膬 diminea牛a urm膬toare. Iar dac膬 se 卯nt卯mpla s膬-艧i termine una dintre c膬r牛ile cu gabarit dep膬艧it, a c卯te 艧ase sute de pagini fiecare, 艧i-i mai r膬m卯neau cincisprezece minute din acea sesiune, scria 芦Sf卯r艧it禄, punea manuscrisul deoparte 艧i 卯ncepea lucrul la urm膬toarea carte鈥�.
3. Exemplul personal: 鈥濸rogramul meu e 卯n linii mari foarte clar. Dimine牛ile s卯nt pentru lucrurile noi - textul pe care-l compun. Dup膬-amiezile s卯nt pentru odihn膬 艧i scrisori. Serile s卯nt pentru citit, familie, meciuri Red Sox la televizor 艧i toate reviziile care nu suport膬 am卯nare. 脦n principal, dimine牛ile s卯nt cele rezervate scrisului. Odat膬 ce 卯ncep s膬 lucrez la un proiect, nu m膬 opresc 艧i nu scad ritmul dec卯t dac膬 s卯nt absolut nevoit s-o fac鈥�.
脦n sf卯r葯it, despre pl膬cerea de a scrie:
4. 鈥濧dev膬rul e c膬, atunci c卯nd muncesc, scriu zi de zi, obsedat irecuperabil de munc膬... Asta 卯nseamn膬 艧i de Cr膬ciun, 葯i de s膬rb膬toarea na牛ional膬, 艧i de ziua mea de na艧tere (la v卯rsta mea, oricum 卯ncerci s膬 ignori afurisita aia de aniversare). Iar c卯nd nu scriu, nu muncesc deloc, de艧i 卯n aceste perioade de inactivitate total膬 m膬 simt de obicei 卯n deriv膬 艧i am probleme cu somnul. Pentru mine, a nu munci e adev膬rata munc膬. C卯nd scriu, totul e un joc 艧i p卯n膬 艧i cele mai rele trei ore pe care le-am petrecut vreodat膬 la masa de scris tot mi-au oferit o pl膬cere suficient de mare鈥�.
P. S. Averea lui Stephen King se ridic膬 la aproximativ 500 de milioane de dolari. 脦n topul celor mai boga葲i scriitori, se situeaz膬 pe locul 5. 脦n virf se afl膬, nu mai trebuie s-o spun, J.K. Rowling cu peste un miliard de dolari. Rar, mult prea rar, scrisul aduce bani. 葮i nu neap膬rat sciitorilor valoro葯i.
P. P. S. Alte c膬r葲i despre me葯te葯ugul scrisului:
鈼� Ray Bradbury, Zen and the Art of Writing, Santa Barbara: Joshua Odell, 1996, 176p.
鈼� Umberto Eco, Cum se face o tez膬 de licen牛膬: disciplinele umaniste, traducere de George Popescu, Ia艧i: Polirom, 2014, 264p.
鈼� Anne Lamott, Bird by Bird: Some Instructions on Writing and Life, New York: Anchor Books, 2007, 25p. Traducere 卯n limba rom芒n膬: Cum 卯nve牛i s膬 scrii fic牛iune pas cu pas. Sugestii despre scris 艧i via牛膬, traducere de Ileana Ioni葲膬-Iancu, Pite葯ti: Paralela 45, 2013, 184p.
鈼� Mario Vargas Llosa, Scrisori c膬tre un t卯n膬r romancier, traducere de Mihai Cantuniari, Bucure葯ti: Humanitas, 2010, 144p.
鈼� Howard Mittelmark & Sandra Newman, Cum s膬 NU scrii un roman: Arta gre葯elilor, traducere de Bogdan-Alexandru St膬nescu, Bucure葯ti: Baroque Books & Arts, 2014, 310p.
鈼� Haruki Murakami, Meseria de romancier, traducere de Andreea Sion, Editura Polirom, 2016, 288p.
鈼� Tony Rossiter, Cum s膬 scrii ca un autor de bestseller, Bucure葯ti, Didactica Publishing House, 2020, 320p.
鈼� William Zinsser, Cum s膬 scriem bine: Ghidul clasic pentru scriitorii de nonfic牛iune, traducere de Amalia M膬r膬艧escu, Pite艧ti: Paralela 45, 2013, 224p.
Nu pot s膬 neg 卯ns膬 c膬 este un prozator profesionist, cum nu s卯nt prea mul葲i 卯n spa葲iul moldo-vlah. Sfaturile lui pot fi de mare folos celor care ar dori s膬 se 鈥瀎ac膬鈥� scriitori (葯i s膬 c卯葯tige bani mul葲i, f膬r膬 num膬r, bani cu nemiluita...), de葯i scrisul nu este meseria cea mai b膬noas膬 din lume, e mai bine s膬 lansezi sateli葲i pe orbit膬 ca Elon Musk 葯i s膬 debitezi t卯mpenii. Foarte pu葲ini prozatori ajung la veniturile lui King.
脦n pofida r卯ndurilor de mai sus, observa葲iile prozatorului american s卯nt mereu utile 葯i rezonabile. Nu-i simplu s膬 fii scriitor, e o meserie horror, crede葲i-m膬, dar po葲i 卯nv膬葲a s膬 potrive葯ti cuvintele prin reflec葲ie 葯i printr-un exerci葲iu perseverent. Asta 卯nseamn膬 s膬 stai la masa de scris cel pu葲in 5 ore pe zi. Philip Roth st膬tea 8. S膬 reflect膬m, deci, la 卯ndemnurile lui King:
1. 鈥濪ac膬 vre牛i s膬 fi牛i scriitori, trebuie, mai presus de toate, s膬 face牛i dou膬 lucruri: citi牛i mult 艧i scrie牛i mult. Nu cunosc nici un mod de a ocoli aceste dou膬 lucruri, nici o scurt膬tur膬. Eu s卯nt un cititor lent, dar reu艧esc de obicei s膬 parcurg 艧aptezeci sau optzeci de c膬r牛i pe an, majoritatea romane. Nu citesc cu g卯ndul de-a 卯nv膬牛a meserie; citesc pentru c膬-mi place s膬 citesc鈥�.
2. Un exemplu ilustru de muncitor: 鈥濧nthony Trollope scria romane urie艧e艧ti 艧i le scotea pe band膬 cu o surprinz膬toare regularitate. Era func牛ionar la Departamentul Po艧tal Britanic (cutiile po艧tale ro艧ii r膬sp卯ndite 卯n toat膬 Marea Britanie au fost inven牛ia lui Anthony Trollope); scria vreme de dou膬 ore 艧i jum膬tate 卯n fiecare diminea牛膬 卯nainte s膬 plece la serviciu. Orarul acesta era b膬tut 卯n cuie. Dac膬 se afla la mijlocul unei propozi牛ii c卯nd expirau cele dou膬 ore 艧i jum膬tate, l膬sa propozi牛ia neterminat膬 p卯n膬 diminea牛a urm膬toare. Iar dac膬 se 卯nt卯mpla s膬-艧i termine una dintre c膬r牛ile cu gabarit dep膬艧it, a c卯te 艧ase sute de pagini fiecare, 艧i-i mai r膬m卯neau cincisprezece minute din acea sesiune, scria 芦Sf卯r艧it禄, punea manuscrisul deoparte 艧i 卯ncepea lucrul la urm膬toarea carte鈥�.
3. Exemplul personal: 鈥濸rogramul meu e 卯n linii mari foarte clar. Dimine牛ile s卯nt pentru lucrurile noi - textul pe care-l compun. Dup膬-amiezile s卯nt pentru odihn膬 艧i scrisori. Serile s卯nt pentru citit, familie, meciuri Red Sox la televizor 艧i toate reviziile care nu suport膬 am卯nare. 脦n principal, dimine牛ile s卯nt cele rezervate scrisului. Odat膬 ce 卯ncep s膬 lucrez la un proiect, nu m膬 opresc 艧i nu scad ritmul dec卯t dac膬 s卯nt absolut nevoit s-o fac鈥�.
脦n sf卯r葯it, despre pl膬cerea de a scrie:
4. 鈥濧dev膬rul e c膬, atunci c卯nd muncesc, scriu zi de zi, obsedat irecuperabil de munc膬... Asta 卯nseamn膬 艧i de Cr膬ciun, 葯i de s膬rb膬toarea na牛ional膬, 艧i de ziua mea de na艧tere (la v卯rsta mea, oricum 卯ncerci s膬 ignori afurisita aia de aniversare). Iar c卯nd nu scriu, nu muncesc deloc, de艧i 卯n aceste perioade de inactivitate total膬 m膬 simt de obicei 卯n deriv膬 艧i am probleme cu somnul. Pentru mine, a nu munci e adev膬rata munc膬. C卯nd scriu, totul e un joc 艧i p卯n膬 艧i cele mai rele trei ore pe care le-am petrecut vreodat膬 la masa de scris tot mi-au oferit o pl膬cere suficient de mare鈥�.
P. S. Averea lui Stephen King se ridic膬 la aproximativ 500 de milioane de dolari. 脦n topul celor mai boga葲i scriitori, se situeaz膬 pe locul 5. 脦n virf se afl膬, nu mai trebuie s-o spun, J.K. Rowling cu peste un miliard de dolari. Rar, mult prea rar, scrisul aduce bani. 葮i nu neap膬rat sciitorilor valoro葯i.
P. P. S. Alte c膬r葲i despre me葯te葯ugul scrisului:
鈼� Ray Bradbury, Zen and the Art of Writing, Santa Barbara: Joshua Odell, 1996, 176p.
鈼� Umberto Eco, Cum se face o tez膬 de licen牛膬: disciplinele umaniste, traducere de George Popescu, Ia艧i: Polirom, 2014, 264p.
鈼� Anne Lamott, Bird by Bird: Some Instructions on Writing and Life, New York: Anchor Books, 2007, 25p. Traducere 卯n limba rom芒n膬: Cum 卯nve牛i s膬 scrii fic牛iune pas cu pas. Sugestii despre scris 艧i via牛膬, traducere de Ileana Ioni葲膬-Iancu, Pite葯ti: Paralela 45, 2013, 184p.
鈼� Mario Vargas Llosa, Scrisori c膬tre un t卯n膬r romancier, traducere de Mihai Cantuniari, Bucure葯ti: Humanitas, 2010, 144p.
鈼� Howard Mittelmark & Sandra Newman, Cum s膬 NU scrii un roman: Arta gre葯elilor, traducere de Bogdan-Alexandru St膬nescu, Bucure葯ti: Baroque Books & Arts, 2014, 310p.
鈼� Haruki Murakami, Meseria de romancier, traducere de Andreea Sion, Editura Polirom, 2016, 288p.
鈼� Tony Rossiter, Cum s膬 scrii ca un autor de bestseller, Bucure葯ti, Didactica Publishing House, 2020, 320p.
鈼� William Zinsser, Cum s膬 scriem bine: Ghidul clasic pentru scriitorii de nonfic牛iune, traducere de Amalia M膬r膬艧escu, Pite艧ti: Paralela 45, 2013, 224p.
December 15, 2023
鈥淥n Writing: A Memoir of the Craft鈥� by Stephen King is one of those rare books that comes across your way and leaves an imprint on you for the rest of your life. This is especially so if you鈥檙e a writer trying to hone your craft in this beautiful world of writing and learn a thing or two from one of the best authors to ever do it.
Now, before I begin my review, here are some of the trigger warnings I found while reading this novel鈥�
- Alcoholism
- Drugs
- Suicide
- Bullying
- Traffic collision with a pedestrian
If any of these trigger you, please do not read this novel. Moving along, here鈥檚 a little backstory on me and why this novel spoke to me in ways I鈥檝e never experienced before. You see, besides loving to write these book reviews, I鈥檓 also a professional sports writer and editor. I鈥檝e been writing for over 25 years now on everything from wrestling, football, baseball, and other various sports.
I truly wish I read this novel back in 2000 when it was first published since this would have been immensely helpful for that young aspiring writer in me. Yeah, I read a lot of self-help, how-to, grammar, and general writing books to hopefully 鈥渕ake it鈥� in the world of sports writing. They all helped me but who knows, perhaps if I read 鈥淥n Writing: A Memoir of the Craft鈥� back then, I might have achieved my dreams a lot sooner in my life than later on. That鈥檚 how resourceful this novel is in the grand scheme of things.
One thing about me is that throughout the various stages of my writing career, I knew I wasn鈥檛 the best writer but make no mistake about it, I worked harder than anyone around me. I wrote as many high-quality articles as I could, hitting over 100+ a month to keep getting my name out there. I kept learning, growing, and adapting over time and I鈥檓 very proud to say that yes, I made it and have made my dreams come true. I work in sports media in a managerial Editorial Director role and it鈥檚 one of the greatest things that has ever happened to me in my life. It wasn鈥檛 easy to earn this role but I made it and reading 鈥淥n Writing: A Memoir of the Craft鈥� proved that every single thing King advises in this novel on the craft of writing is 100 percent true.
Work hard, be humble, read more than you write, and never forget where you came from. My goodness, this was such a powerful read. I loved how raw and real King was about the craft of writing where he spoke the unfiltered truth about what it takes to be a great writer. Reading this felt as if I was sitting with him in a nice cafe in Maine where he talked to me about his life, shared some great stories, and gave me writing advice over iced coffee.
I loved all the unique stories of King鈥檚 life that shaped him into the master storyteller that he is today. To read about King as a kid and how he slowly got introduced to the world of reading was pretty awesome since it all started there.
As I kept reading, I learned this novel can hit you in multiple ways depending on what you want to get out of it. You can learn a ton about King himself, how he comes up with the horror masterpieces that he does, and of course, get detailed writing advice from one of the greatest authors of all time.
It was beyond fascinating to read how King got the inspiration while growing up for future short stories, especially 鈥淕raveyard Shift鈥� which is one of my favorites. I also thought it was great reading about how he met and fell in love with his wife Tabitha and how instrumental she was in making sure he did what she knew he was great at was astounding. It鈥檚 crazy to think that 鈥淐arrie鈥� would never have been published if it wasn鈥檛 for his wife. King probably wouldn鈥檛 even have been an author if she hadn鈥檛 come through in the clutch.
This novel teaches a lot, especially how important it is to work your way up through hard work, effort, and determination if you鈥檙e serious about being a writer. These were also some of the cornerstones I focused on in my path and I can tell you firsthand that King hit the nail right on the head with those key factors, especially with having patience.
There are no shortcuts to this. It鈥檚 a lot of late nights, early mornings, and a lot of frustration. If you love it as much as you need to breathe and are patient, you will get there in due time. If you鈥檙e doing this for money or popularity, you won鈥檛 last. King confirmed that and even though I am nowhere near his level, I can at least say that my sports content has been read by millions of readers over the years and I didn鈥檛 achieve any of that success at first. It took me a very long time to achieve those levels which is exactly what King preaches about rejection and failure tends to come first before you ever taste success.
Another thing I loved that King emphasized was how important it is to read a lot if you want to be a great writer. Even in my early years of sports writing, I always read tons of other sports articles before typing a single word of my content. It鈥檚 important to get those creative juices flowing, learn different writing styles, and start developing your signature by reading the best of the best. It comes with time and before you know it, you鈥檒l carve your niche in writing.
One of my favorite quotes that King said about this has resonated with me for many years now. I feel every writer should have this written down somewhere to read at any given notice...
鈥淚f you want to be a writer, you must do two things above all others: read a lot and write a lot. There鈥檚 no way around these two things that I鈥檓 aware of, no shortcuts.鈥�
Powerful, eh? Now, one thing to note about reading this novel is that King does indeed spoil a lot of his best and most popular novels. So if you鈥檝e never read 鈥淐arrie鈥�, 鈥淭he Institute鈥�, 鈥淢isery鈥�, 鈥淯nder the Dome鈥�, or 鈥溾€楽alem鈥檚 Lot鈥� just keep an eye out when he discusses these novels and skip those sections. If you鈥檝e read the majority of King鈥檚 work including the aforementioned novels, you鈥檒l be fine.
In addition to being very proud of what I鈥檝e accomplished in the sports writing industry so far (being a manager now means less writing and more coaching but I love what I do because I do what I love), I鈥檓 also extremely proud of the impact when it comes to these reviews I write on 欧宝娱乐 and Amazon. I am honest in everything I write whether it鈥檚 a sports article or book review. King confirmed a lot of what I believe in when it comes to the difference between a 5-Star and 1-Star rating for a book.
It鈥檚 all about the story, characters, backstory, pacing, doing your research so everything feels as authentic as possible, and making it as tight as it can be by omitting needless words. Every single time I read a book and write a review, these are the core things I look for when determining my final rating. If I see fluff, I鈥檓 going to call it out. If I am bored due to terrible pacing, I鈥檓 going to call it out. If the story does nothing for me you better believe I鈥檓 going to call it out. All I鈥檓 looking for is to give me a great and memorable story and you鈥檒l have me forever as a reader.
I connected with King in this novel on so many levels and as a fellow writer, it鈥檚 a surreal feeling. This was such a personal, insightful, and incredible read that I will never forget for the rest of my life. It鈥檚 inspiring for someone like me to continue honing my craft as a writer and even though I write a lot more book reviews than sports articles these days, everything I learned here has sharpened the tools in my toolbox. You鈥檒l know what I mean by that analogy if you end up reading this magnificent novel.
Besides all the wonderful writing advice King drops on here and a deep look at his life鈥檚 stories, I鈥檇 say the craziest part was when he explained his near-death experience when he got hit by that damn blue van back in 1999. That was heartbreaking, emotional, and very painful to read. I can only imagine what that ordeal must have been like but to hear King break it all down including how he feared for his own life was intense.
From beginning to end, this was a genuine pageturner and I loved how this twentieth-anniversary edition featured two sections at the end by his sons Owen King and Joe Hill. It was pretty awesome to read how King got Owen to record audiobooks as a kid for an allowance and a transcript of a fun conversation he had with Joe Hill at a 2019 event at Porter Square Books.
I give 鈥淥n Writing: A Memoir of the Craft鈥� by Stephen King a 5/5 as this is a must-read novel for any aspiring writer. The advice given here is superb and will help anyone serious about this craft learn all the tools needed to be in a position to succeed. I know for me personally, even after two decades of being a professional sports writer, I still learned many things from this novel. I have never had the privilege of meeting King in person but if I ever do or if by some miracle, he reads this review, all I have to say is for yet another 5-Star reading experience he鈥檚 given me鈥� thank you.
Thank you for being an inspiration to countless writers across the globe. Thank you for sharing your writing wisdom with the masses and enforcing the principles of being humble, working hard, and killing adverbs one word at a time. Thank you for all the fantastic reading memories, creepy characters, and some of the best horror I have ever read. Thank you for always inspiring me <3
Now, before I begin my review, here are some of the trigger warnings I found while reading this novel鈥�
- Alcoholism
- Drugs
- Suicide
- Bullying
- Traffic collision with a pedestrian
If any of these trigger you, please do not read this novel. Moving along, here鈥檚 a little backstory on me and why this novel spoke to me in ways I鈥檝e never experienced before. You see, besides loving to write these book reviews, I鈥檓 also a professional sports writer and editor. I鈥檝e been writing for over 25 years now on everything from wrestling, football, baseball, and other various sports.
I truly wish I read this novel back in 2000 when it was first published since this would have been immensely helpful for that young aspiring writer in me. Yeah, I read a lot of self-help, how-to, grammar, and general writing books to hopefully 鈥渕ake it鈥� in the world of sports writing. They all helped me but who knows, perhaps if I read 鈥淥n Writing: A Memoir of the Craft鈥� back then, I might have achieved my dreams a lot sooner in my life than later on. That鈥檚 how resourceful this novel is in the grand scheme of things.
One thing about me is that throughout the various stages of my writing career, I knew I wasn鈥檛 the best writer but make no mistake about it, I worked harder than anyone around me. I wrote as many high-quality articles as I could, hitting over 100+ a month to keep getting my name out there. I kept learning, growing, and adapting over time and I鈥檓 very proud to say that yes, I made it and have made my dreams come true. I work in sports media in a managerial Editorial Director role and it鈥檚 one of the greatest things that has ever happened to me in my life. It wasn鈥檛 easy to earn this role but I made it and reading 鈥淥n Writing: A Memoir of the Craft鈥� proved that every single thing King advises in this novel on the craft of writing is 100 percent true.
Work hard, be humble, read more than you write, and never forget where you came from. My goodness, this was such a powerful read. I loved how raw and real King was about the craft of writing where he spoke the unfiltered truth about what it takes to be a great writer. Reading this felt as if I was sitting with him in a nice cafe in Maine where he talked to me about his life, shared some great stories, and gave me writing advice over iced coffee.
I loved all the unique stories of King鈥檚 life that shaped him into the master storyteller that he is today. To read about King as a kid and how he slowly got introduced to the world of reading was pretty awesome since it all started there.
As I kept reading, I learned this novel can hit you in multiple ways depending on what you want to get out of it. You can learn a ton about King himself, how he comes up with the horror masterpieces that he does, and of course, get detailed writing advice from one of the greatest authors of all time.
It was beyond fascinating to read how King got the inspiration while growing up for future short stories, especially 鈥淕raveyard Shift鈥� which is one of my favorites. I also thought it was great reading about how he met and fell in love with his wife Tabitha and how instrumental she was in making sure he did what she knew he was great at was astounding. It鈥檚 crazy to think that 鈥淐arrie鈥� would never have been published if it wasn鈥檛 for his wife. King probably wouldn鈥檛 even have been an author if she hadn鈥檛 come through in the clutch.
This novel teaches a lot, especially how important it is to work your way up through hard work, effort, and determination if you鈥檙e serious about being a writer. These were also some of the cornerstones I focused on in my path and I can tell you firsthand that King hit the nail right on the head with those key factors, especially with having patience.
There are no shortcuts to this. It鈥檚 a lot of late nights, early mornings, and a lot of frustration. If you love it as much as you need to breathe and are patient, you will get there in due time. If you鈥檙e doing this for money or popularity, you won鈥檛 last. King confirmed that and even though I am nowhere near his level, I can at least say that my sports content has been read by millions of readers over the years and I didn鈥檛 achieve any of that success at first. It took me a very long time to achieve those levels which is exactly what King preaches about rejection and failure tends to come first before you ever taste success.
Another thing I loved that King emphasized was how important it is to read a lot if you want to be a great writer. Even in my early years of sports writing, I always read tons of other sports articles before typing a single word of my content. It鈥檚 important to get those creative juices flowing, learn different writing styles, and start developing your signature by reading the best of the best. It comes with time and before you know it, you鈥檒l carve your niche in writing.
One of my favorite quotes that King said about this has resonated with me for many years now. I feel every writer should have this written down somewhere to read at any given notice...
鈥淚f you want to be a writer, you must do two things above all others: read a lot and write a lot. There鈥檚 no way around these two things that I鈥檓 aware of, no shortcuts.鈥�
Powerful, eh? Now, one thing to note about reading this novel is that King does indeed spoil a lot of his best and most popular novels. So if you鈥檝e never read 鈥淐arrie鈥�, 鈥淭he Institute鈥�, 鈥淢isery鈥�, 鈥淯nder the Dome鈥�, or 鈥溾€楽alem鈥檚 Lot鈥� just keep an eye out when he discusses these novels and skip those sections. If you鈥檝e read the majority of King鈥檚 work including the aforementioned novels, you鈥檒l be fine.
In addition to being very proud of what I鈥檝e accomplished in the sports writing industry so far (being a manager now means less writing and more coaching but I love what I do because I do what I love), I鈥檓 also extremely proud of the impact when it comes to these reviews I write on 欧宝娱乐 and Amazon. I am honest in everything I write whether it鈥檚 a sports article or book review. King confirmed a lot of what I believe in when it comes to the difference between a 5-Star and 1-Star rating for a book.
It鈥檚 all about the story, characters, backstory, pacing, doing your research so everything feels as authentic as possible, and making it as tight as it can be by omitting needless words. Every single time I read a book and write a review, these are the core things I look for when determining my final rating. If I see fluff, I鈥檓 going to call it out. If I am bored due to terrible pacing, I鈥檓 going to call it out. If the story does nothing for me you better believe I鈥檓 going to call it out. All I鈥檓 looking for is to give me a great and memorable story and you鈥檒l have me forever as a reader.
I connected with King in this novel on so many levels and as a fellow writer, it鈥檚 a surreal feeling. This was such a personal, insightful, and incredible read that I will never forget for the rest of my life. It鈥檚 inspiring for someone like me to continue honing my craft as a writer and even though I write a lot more book reviews than sports articles these days, everything I learned here has sharpened the tools in my toolbox. You鈥檒l know what I mean by that analogy if you end up reading this magnificent novel.
Besides all the wonderful writing advice King drops on here and a deep look at his life鈥檚 stories, I鈥檇 say the craziest part was when he explained his near-death experience when he got hit by that damn blue van back in 1999. That was heartbreaking, emotional, and very painful to read. I can only imagine what that ordeal must have been like but to hear King break it all down including how he feared for his own life was intense.
From beginning to end, this was a genuine pageturner and I loved how this twentieth-anniversary edition featured two sections at the end by his sons Owen King and Joe Hill. It was pretty awesome to read how King got Owen to record audiobooks as a kid for an allowance and a transcript of a fun conversation he had with Joe Hill at a 2019 event at Porter Square Books.
I give 鈥淥n Writing: A Memoir of the Craft鈥� by Stephen King a 5/5 as this is a must-read novel for any aspiring writer. The advice given here is superb and will help anyone serious about this craft learn all the tools needed to be in a position to succeed. I know for me personally, even after two decades of being a professional sports writer, I still learned many things from this novel. I have never had the privilege of meeting King in person but if I ever do or if by some miracle, he reads this review, all I have to say is for yet another 5-Star reading experience he鈥檚 given me鈥� thank you.
Thank you for being an inspiration to countless writers across the globe. Thank you for sharing your writing wisdom with the masses and enforcing the principles of being humble, working hard, and killing adverbs one word at a time. Thank you for all the fantastic reading memories, creepy characters, and some of the best horror I have ever read. Thank you for always inspiring me <3
November 29, 2016
Like the curate鈥檚 egg, this is good in parts. I can see why writers, and budding writers find this book inspirational, and fans of his oeuvre will enjoy learning how certain stories came to be. But it鈥檚 several very different books and booklets, within a single set of covers - curious that a book about writing doesn't seem to know what sort of a book it is.
In one of the three forewords, King says 鈥�Most books about writing are filled with bullshit鈥�. I found a fair bit here, too. But I also found good things, including a passionate passage about books being a sort of telepathy, culminating with the delicious: 鈥�Books are a uniquely portable magic.鈥�
This book isn鈥檛 about how to write in general, it鈥檚 about how to write like Stephen King, and for that, it may be excellent.
1. C.V. 4* (memoir, 118 pages, or 33% of the book)
This is a charming scattering of snapshots of King鈥檚 childhood, and snippets of adulthood and advice; the CV of how one writer was formed. I enjoyed a peek into ordinary 1950s small-town USA. He points out that he is one of "the final handful of American novelists who learned to read and write before they learned to eat a daily helping of video bullshit". (He was 11 when the family got their first TV.)
He missed most of first grade because of ear-related health problems, so retreated into comic books and writing stories in a similar vein. His mother always encouraged him, and the importance of encouragement is the strongest message of the book. Conversely, a teacher criticised him for wasting his talent writing junk, and King remained ashamed of what he wrote until his forties. (The 鈥渏unk鈥� was a novelisation of the film of The Pit and the Pendulum, which he鈥檇 been selling at school 鈥� unaware that it was originally a short story by Poe!)
His wife, Tabitha, also gets much credit: her belief in his ability and her consequent encouragement, even when they could barely pay the bills. They have much in common, but 鈥�What ties us most strongly are the words, the language, and the work of our lives.鈥�
The other key message is that there is no repository of great story ideas. They come from nowhere. The writer has to spot, recognise, and polish them, and King gives examples of how he came upon the seeds of many of his stories.
King points out that even the author鈥檚 perception of his characters may be wrong (I don鈥檛 disagree, and it may be related to his not realising that he was writing about himself when he penned Jack, in The Shining). But in a foreword, he makes a more extreme generalisation, 鈥�The editor is always right鈥�. An interesting case study is to compare Raymond Carver鈥檚 short story collection, What We Talk About When We Talk About Love, in their originally published and heavily edited form with his originals, now published under the title Beginners. Sometimes I think the editor was right, but in several cases, I prefer Carver鈥檚 version. I鈥檝e explored the differences a little in my reviews: HERE and HERE, respectively.
2. Toolbox 1* (grammar etc, 34 pages)
鈥�Writing is seduction.鈥� Not necessarily. Reading this short section, the only thing that prevented me from throwing the book across the room was that it was borrowed from a friend. It does what most prescriptive guides do: conflates stylistic preference with grammatical rules, and makes sweeping generalisations (such as 鈥�the best form of dialogue attribution is 鈥榮aid鈥�.鈥�), largely ignoring the paramount importance of context and audience. It鈥檚 easy to teach and test rules, but serious writers need to cultivate an intuitive feel for language in a variety of styles, rather than being bogged down analysing parts of speech.
King taught grammar, but gives examples of that aren't, and keeps talking about the "passive tense", though later correctly says "passive voice". He decries it, using ludicrous, unidiomatic examples (鈥淢y first kiss will always be recalled by me鈥�). He decries adverbs by using a convoluted passive (they 鈥渟eem to have been created with the timid writer in mind鈥�) and an adverb (saying writers use them when not expressing themselves 鈥渃learly鈥�), and says both passives and adverbs are the resort of "timid writers". He claims, 鈥�The road to hell is paved with adverbs.鈥� One is OK, but they鈥檙e like dandelions: prone to multiply. In section 3, he berates pronouns too, using a pronoun 鈥�I hate and mistrust pronouns, every one of them as slippery as a fly-by-night personal-injury lawyer鈥�鈥�. Why?
Strunk and White鈥檚* (in)famous rule 17, 鈥淥mit needless words鈥�, is lauded. It鈥檚 hard to disagree with, but it鈥檚 no help with discerning which words might be needless.
King says this section is short because readers probably know enough grammar already, but he then agrees with Strunk and White, that if readers don鈥檛, 鈥淚t鈥檚 too late鈥�. So much for encouraging timid writers. And yet many find this book helpful. I鈥檓 pleased for them, but a little surprised.
There are some good points. He stresses the importance of an extensive vocabulary, and says it should be acquired through reading widely, rather than conscious effort. He describes paragraphs as 鈥渕aps of intent鈥� and 鈥渢he basic unit of writing鈥� (rather than sentences). And there is a nod to context, negating much of what precedes it, 鈥�Language does not always have to wear a tie and lace-up shoes.鈥� Amen to that.
3. On Writing 3* (how he writes, 143 pages, or 40%)
And suddenly it鈥檚 back to memoir-ish, but with focus on the process of writing, and a smattering of prescriptive absolutes and empty homilies alongside fascinating insights and ideas. King promises 鈥�Everything I know about how to write good fiction.鈥�, along with encouragement, but with the caveat that you can鈥檛 make a bad writer a competent one, or a good writer great, but you can make a competent writer good, as long as they master the basics in the previous section: vocabulary, grammar, and style.
King stresses the importance and joy of reading, in all and any situations, developing 鈥�an ease and intimacy with the process of writing.鈥�
But for writing itself, he says you need good health (though poor health was what got him started, and he was successful when a heavy-drinking alcoholic), a stable relationship (don鈥檛 many great writers emerge from the opposite?), strict routine, and your own space (no distractions, and a door to close). 鈥�Put your desk in the corner鈥� Life isn鈥檛 a support system for art. It鈥檚 the other way round.鈥�
鈥�Good fiction always begins with story and progresses to theme鈥� Starting with the questions and thematic concerns is a recipe for bad fiction.鈥�
The ideas about story and plot were fascinating and liberating - in stark contrast with the straitjacket of the previous section. You need a concrete goal, but 鈥�Don鈥檛 wait for the muse鈥� and 鈥� Write what you know鈥�.
He lists only three components of a story: narrative, description, and dialogue. Don鈥檛 worry about plot because our lives are plotless. 鈥�Stories are found things, like fossils鈥� and the writer has to give them somewhere to grow (fossils鈥� growing?), thus 鈥�My books tend to be based on situation rather than story鈥� The situation comes first鈥� The characters鈥� come next鈥�. Then there鈥檚 narration, and he lets the characters figure things out 鈥� not always as he expected.
Ultimately, 鈥�The story should always be the boss鈥�. The story, not the plot. 鈥�Plot is鈥� the good writer鈥檚 last resort and the dullard鈥檚 first choice.鈥� And 鈥�There鈥檚 a huge difference between story and plot. Story is honorable and trustworthy; plot is shifty and best kept under house arrest.鈥� Huh? Fortunately, Bryce came to the rescue in the second comment on her review here:
"Plot is a series of events. But story is about the motivations behind those events."
Her example is that plot is "The king died and then the queen died."
The story is "The king died and then the queen died of grief."
When you鈥檝e finished the first draft (which you should never show anyone else for comment), you have to step back, to see the wood for the trees, and figure out what the book is about. Work on a second draft, then take a break and let someone else review that.
鈥�Description is what makes the reader a sensory participant in the story鈥�, but you must beware of over-describing: 鈥�Description begins in the writer鈥檚 imagination, but should finish in the reader鈥檚.鈥� That sounds wise and wonderful, but I鈥檓 unsure how to apply it. Still less, 鈥�The use of simile and other figurative language is one of the chief delights of fiction鈥�, when you鈥檙e supposed to be hunting down adverbs, pronouns and other allegedly needless words.
鈥�It鈥檚 not about the setting鈥� it鈥檚 always about the story.鈥� Absolutely always? I think not. So many of my favourite works of fiction are about the setting that I have shelves called Landscape Protagonist and Sea, Islands, Coast.
鈥�One of the cardinal rules of good fiction is never to tell us a thing if you can show us.鈥� Never? Again, it鈥檚 the absolutism I object to.
And then鈥� relax: 鈥�Try any goddam thing you like鈥� If it works, fine. If it doesn鈥檛 toss it. Toss it even if you love it.鈥� Hooray.
4. On Living 3* (surviving a life-threatening accident, 22 pages)
This is a moving addition to recent editions (and briefer versions have been published separately). King writes of when he was out walking in 1999 and was hit by a driver who could have been from one of his books. It recounts his serious injuries, multiple operations, and slow recovery. 鈥�Writing didn鈥檛 save my live鈥� [but] it makes my life a brighter more pleasant place.鈥�
5. And Furthermore 3* (annotated example of first and second drafts)
This has a very short story that King invites readers to edit. It is followed by an annotated version, with explanations of the suggestions. Most of them are cuts (back to 鈥淥mit needless words鈥�). King reckons editing should trim at least 10%. The other key thing is follow-through, 鈥�If there鈥檚 a gun on the mantel in Act I, it must go off in Act III鈥�, otherwise it will be either pointless or a deus ex machina. See Checkov鈥檚 Gun.
6. Booklists 3* (books to read, mostly fiction)
There are two fiction booklists, mostly novels, but a few short story collections. It鈥檚 a varied mix of classics and modern, highbrow and less so: King鈥檚 first/main list
Notes
I tried to read this with an open mind. I was bored by the only other King I've read (The Shining, my review HERE), and I generally abhor the narrow prescriptivism of "How to write" guides. Most of it defied my fears 鈥� except for the
*For a strident critique of Strunk and White鈥檚 Elements of Style (beloved of many US students and largely unknown in the UK), see .
Image source for classic Punch cartoon, 鈥淭he Curate鈥檚 egg鈥�:
January 9, 2018
January 6, 2018 review
I'm kicking off my fifth year on 欧宝娱乐 with a re-read of the best book about writing that I've read to date. I've considered that On Writing: A Memoir of the Craft--Stephen King's contribution to the crowded field of How To Write a Novel, published in 2000--might hold this slot due to King being one of my favorite living authors. Ball players can tune out a coach who never made it in the pros quicker than a guy who did and was a superstar to boot, and I'm certainly more likely to heed the advice of a guru who didn't attain his divinity by mysterious means. The author of The Shining certainly had my attention.
King begins his instruction by doing something I wish my teachers did on the first day of class; he tells us about himself. Raised by a single mother in Maine in the 1950s and '60s, King recounts his childhood, his earliest discoveries in fiction, his first forays into writing and publishing, his breakthrough debut novel Carrie some ten years later in 1974 and his near collapse from alcohol and drugs. The writing advice kicks in, covering vocabulary, grammar, the elements of style and much more. This was the book King was chipping away at in June 1999 when he was struck by a negligent driver while on an afternoon walk, and this life changing experience is recounted as well.
Even when King isn't dispensing writing advice--and when he does, it's helpful to anyone from students writing a paper to writers with dreams of being the next King of Horror--simply reading his prose is a motivation and a delight. Holder of a Bachelor's of Arts in English from the University of Maine at Orono, King's manner or style has always reminded me of a character in a King novel, an English instructor perhaps, but more likely a guy who works at the hardware or auto parts store in town and who loves: 1) talking to people, and 2) helping people by sharing his expertise. King's forte is storytelling, with a minor in popular culture.
-- Imitation preceded creation; I would copy Combat Casey comics word for word in my Blue Horse tablet, sometimes adding my own descriptions where they seemed appropriate. "They were camped in a big dratty farmhouse room," I might write; it was another year or two before I discovered that drat and draft were different words. During the same period I remember believing that details were dentals and that a bitch was an extremely tall woman. A son of a bitch was apt to be a basketball player. When you're six, most of your Bingo balls are still floating around in the draw-tank.
-- I was born in 1947 and we didn't get our first television until 1958. The first thing I remember watching on it was Robot Monster, a film in which a guy dressed in an ape-suit with a goldfish bowl on his head--Ro-Man, he was called--ran around trying to kill the last survivors of a nuclear war. I felt this was art of quite a high nature. But TV came relatively late to the King household, and I'm glad. I am, when you stop to think about it, a member of a fairly select group: the final handful of American novelists who learned to read and write before they learned to eat a daily helping of video bullshit. This might not be important.
-- "What I don't understand, Stevie," she said, "is why you'd write junk like this in the first place. You're talented. Why do you want to waste your abilities?" She had rolled up a copy of V.I.B. #1 and was brandishing it at me the way a person might brandish a rolled-up newspaper at a dog that has piddled on the rug. She waited for me to answer--to her credit, the question was not entirely rhetorical--but I had no answer to give. I was ashamed. I have spent a good many years since--too many, I think--being ashamed about what I write. I think I was forty before I realized that almost every writer of fiction and poetry who has ever published a line has been accused by someone of wasting his or her God-given talent. If you write (or paint or dance or sculpt or sing I suppose), someone will try to make you feel lousy about it.
-- I wasn't having much success with my own writing, either. Horror, science fiction, and crime stories in the men's magazines were being replaced by increasingly graphic tales of sex. That was part of the trouble, but not all of it. The bigger deal was that, for the first time in my life, writing was hard. The problem was the teaching. I liked my coworkers and loved the kids--even the Beavis and Butt-Head types in Living with English could be interesting--but by most Friday afternoons I felt as if I'd spent the week with jumper cables clamped to my brain. If I ever came close to despairing about my future as a writer, it was then.
-- I had written three other novels before Carrie--Rage, The Long Walk, and The Running Man were later published. But none of them taught me the things I learned from Carrie White. The most important is that the writer's original perception of a character or characters may be as erroneous as the reader's. Running a close second was the realization that stopping a piece of work just because it's hard, either emotionally or imaginatively, is a bad idea. Sometimes you have to go on when you don't feel like it, and sometimes you're doing good work when it feels like all you're managing is to shovel shit from a sitting position.
-- Put vocabulary on the top shelf of your toolbox, and don't make any conscious effort to improve it. One of the really bad things you can do to your writing is to dress up the vocabulary, looking for long words because you're maybe a little bit ashamed of your short ones. This is like dressing up a household pet in evening clothes. The pet is embarrassed and the person who committed this act of premeditated cuteness should be even more embarrassed. Remember that the basic rule of vocabulary is use the first word that comes to your mind if it is appropriate and colorful.
-- Two pages of the passive voice--just about any business document ever written, in other words, not to mention reams of bad fiction--make me want to scream. It's weak, it's circuitous, and it's frequently torturous, as well. How about this: My first kiss will always be recalled by me as how my romance with Shayna began. Oh, man--who farted, right? A simpler way to express this idea--sweeter and more forceful, as well--might be this: My romance with Shayna began with our first kiss. I'll never forget it. I'm not in love with this because it uses with twice in four words, but at least we're out of that awful passive voice.
-- The best form of dialogue attribution is said, as in he said, she said, Bill said, Monica said. If you want to see this put stringently into practice, I urge you to read or reread a novel by Larry McMurtry, the Shane of dialogue attribution. That looks damned snide on the page, but I'm speaking with complete sincerity. McMurtry has allowed few adverbial dandelions to grow on his lawn. He believes in he-said/she-said even in moments of emotional crisis (and in Larry McMurtry novels there are a lot of those.) Go and do thou likewise.
-- I am approaching the heart of this book with two theses, both simple. The first is that good writing consists of mastering the fundamentals (vocabulary, grammar, the elements of style) and then filling the third level of your toolbox with the right instruments. The second is that while it is impossible to make a competent writer out of a bad writer, and while it is equally impossible to make a great writer out of a good one, it is possible, with lots of hard work, dedication, and timely help, to make a good writer out of a merely competent one.
-- Smith wasn't looking at the road on the afternoon our lives came together because his rottweiler had jumped from the very rear of his van into the back-seat area, where there was an Igloo cooler with some meat stored inside. The rottweiler's name is Bullet (Smith has another rottweiler at home; that one is named Pistol). Bullet started to nose at the lid of the cooler. Smith turned around and tried to push Bullet away. He was still looking at Bullet and pushing his head away from the cooler when he came over the top of the knoll; still looking and pushing when he struck me. Smith told friends later that he thought he'd hit "a small deer" until he noticed my bloody spectacles lying on the front seat of his van. They were knocked from my face when I tried to get out of Smith's way. The frames were bent and twisted, but the lenses were unbroken. They are the lenses I'm wearing now, as I write this.
I could keep going and going with excerpts, which with only a few of the digressions that turned It into a 444,414 word kiddie high chair and Under the Dome into a 334,074 word boat anchor, are just by their free flowing honesty inspirational to anyone who seeks to communicate thought to print. Instead, I think I'll dust off my half-finished manuscript and channel the spirit of Carrie White to get to writing.
January 8, 2014 review
It's not every day you can buy two great books for the price of one, but with On Writing: A Memoir of the Craft, readers are treated to both an engaging autobiography of one of the 20th century's most prolific novelists, and his illuminative thoughts on the craft of writing.
Stephen King had been publishing for more than 25 years when this memoir arrived in 2000, and while he's probably been asked "Where do you get your ideas?" or "How do I become a novelist?" enough times over to want to either strangle someone or answer that a book, I love how balanced and unassuming his approach was in going about the latter.
Rather than document the genesis of every novel he ever wrote as if they were masterpieces (most are far from it, including Cujo, which King admits he can't remember writing through the cocaine and beer), or offer novelists a definitive instruction manual on how to become a bestselling author like him, King dabs his pen in each of those inkwells with welcome doses of humility and insight.
King writes about his youth -- watching his grandfather tote a giant tool box outside for the seemingly mundane task of repairing a screen door, or writing Carrie in the laundry room of the trailer he shared with his wife -- as well as his near death in 1999, when the author is struck by a distracted driver.
My greatest takeaway from the sections of the book which deal with craft is King's revelation that for him, writing feels less like dreaming up stories and more like paleontology, pulling a fossil out of the ground. A story is buried somewhere. King touches on the tools a writer can use to dig it up.
Whether you're a writer, or a fan of King's, or both, this memoir is like opening up a safety deposit box you've been given the key to and finding rich stuff (to borrow an expression from The Goonies) inside.
I'm kicking off my fifth year on 欧宝娱乐 with a re-read of the best book about writing that I've read to date. I've considered that On Writing: A Memoir of the Craft--Stephen King's contribution to the crowded field of How To Write a Novel, published in 2000--might hold this slot due to King being one of my favorite living authors. Ball players can tune out a coach who never made it in the pros quicker than a guy who did and was a superstar to boot, and I'm certainly more likely to heed the advice of a guru who didn't attain his divinity by mysterious means. The author of The Shining certainly had my attention.
King begins his instruction by doing something I wish my teachers did on the first day of class; he tells us about himself. Raised by a single mother in Maine in the 1950s and '60s, King recounts his childhood, his earliest discoveries in fiction, his first forays into writing and publishing, his breakthrough debut novel Carrie some ten years later in 1974 and his near collapse from alcohol and drugs. The writing advice kicks in, covering vocabulary, grammar, the elements of style and much more. This was the book King was chipping away at in June 1999 when he was struck by a negligent driver while on an afternoon walk, and this life changing experience is recounted as well.
Even when King isn't dispensing writing advice--and when he does, it's helpful to anyone from students writing a paper to writers with dreams of being the next King of Horror--simply reading his prose is a motivation and a delight. Holder of a Bachelor's of Arts in English from the University of Maine at Orono, King's manner or style has always reminded me of a character in a King novel, an English instructor perhaps, but more likely a guy who works at the hardware or auto parts store in town and who loves: 1) talking to people, and 2) helping people by sharing his expertise. King's forte is storytelling, with a minor in popular culture.
-- Imitation preceded creation; I would copy Combat Casey comics word for word in my Blue Horse tablet, sometimes adding my own descriptions where they seemed appropriate. "They were camped in a big dratty farmhouse room," I might write; it was another year or two before I discovered that drat and draft were different words. During the same period I remember believing that details were dentals and that a bitch was an extremely tall woman. A son of a bitch was apt to be a basketball player. When you're six, most of your Bingo balls are still floating around in the draw-tank.
-- I was born in 1947 and we didn't get our first television until 1958. The first thing I remember watching on it was Robot Monster, a film in which a guy dressed in an ape-suit with a goldfish bowl on his head--Ro-Man, he was called--ran around trying to kill the last survivors of a nuclear war. I felt this was art of quite a high nature. But TV came relatively late to the King household, and I'm glad. I am, when you stop to think about it, a member of a fairly select group: the final handful of American novelists who learned to read and write before they learned to eat a daily helping of video bullshit. This might not be important.
-- "What I don't understand, Stevie," she said, "is why you'd write junk like this in the first place. You're talented. Why do you want to waste your abilities?" She had rolled up a copy of V.I.B. #1 and was brandishing it at me the way a person might brandish a rolled-up newspaper at a dog that has piddled on the rug. She waited for me to answer--to her credit, the question was not entirely rhetorical--but I had no answer to give. I was ashamed. I have spent a good many years since--too many, I think--being ashamed about what I write. I think I was forty before I realized that almost every writer of fiction and poetry who has ever published a line has been accused by someone of wasting his or her God-given talent. If you write (or paint or dance or sculpt or sing I suppose), someone will try to make you feel lousy about it.
-- I wasn't having much success with my own writing, either. Horror, science fiction, and crime stories in the men's magazines were being replaced by increasingly graphic tales of sex. That was part of the trouble, but not all of it. The bigger deal was that, for the first time in my life, writing was hard. The problem was the teaching. I liked my coworkers and loved the kids--even the Beavis and Butt-Head types in Living with English could be interesting--but by most Friday afternoons I felt as if I'd spent the week with jumper cables clamped to my brain. If I ever came close to despairing about my future as a writer, it was then.
-- I had written three other novels before Carrie--Rage, The Long Walk, and The Running Man were later published. But none of them taught me the things I learned from Carrie White. The most important is that the writer's original perception of a character or characters may be as erroneous as the reader's. Running a close second was the realization that stopping a piece of work just because it's hard, either emotionally or imaginatively, is a bad idea. Sometimes you have to go on when you don't feel like it, and sometimes you're doing good work when it feels like all you're managing is to shovel shit from a sitting position.
-- Put vocabulary on the top shelf of your toolbox, and don't make any conscious effort to improve it. One of the really bad things you can do to your writing is to dress up the vocabulary, looking for long words because you're maybe a little bit ashamed of your short ones. This is like dressing up a household pet in evening clothes. The pet is embarrassed and the person who committed this act of premeditated cuteness should be even more embarrassed. Remember that the basic rule of vocabulary is use the first word that comes to your mind if it is appropriate and colorful.
-- Two pages of the passive voice--just about any business document ever written, in other words, not to mention reams of bad fiction--make me want to scream. It's weak, it's circuitous, and it's frequently torturous, as well. How about this: My first kiss will always be recalled by me as how my romance with Shayna began. Oh, man--who farted, right? A simpler way to express this idea--sweeter and more forceful, as well--might be this: My romance with Shayna began with our first kiss. I'll never forget it. I'm not in love with this because it uses with twice in four words, but at least we're out of that awful passive voice.
-- The best form of dialogue attribution is said, as in he said, she said, Bill said, Monica said. If you want to see this put stringently into practice, I urge you to read or reread a novel by Larry McMurtry, the Shane of dialogue attribution. That looks damned snide on the page, but I'm speaking with complete sincerity. McMurtry has allowed few adverbial dandelions to grow on his lawn. He believes in he-said/she-said even in moments of emotional crisis (and in Larry McMurtry novels there are a lot of those.) Go and do thou likewise.
-- I am approaching the heart of this book with two theses, both simple. The first is that good writing consists of mastering the fundamentals (vocabulary, grammar, the elements of style) and then filling the third level of your toolbox with the right instruments. The second is that while it is impossible to make a competent writer out of a bad writer, and while it is equally impossible to make a great writer out of a good one, it is possible, with lots of hard work, dedication, and timely help, to make a good writer out of a merely competent one.
-- Smith wasn't looking at the road on the afternoon our lives came together because his rottweiler had jumped from the very rear of his van into the back-seat area, where there was an Igloo cooler with some meat stored inside. The rottweiler's name is Bullet (Smith has another rottweiler at home; that one is named Pistol). Bullet started to nose at the lid of the cooler. Smith turned around and tried to push Bullet away. He was still looking at Bullet and pushing his head away from the cooler when he came over the top of the knoll; still looking and pushing when he struck me. Smith told friends later that he thought he'd hit "a small deer" until he noticed my bloody spectacles lying on the front seat of his van. They were knocked from my face when I tried to get out of Smith's way. The frames were bent and twisted, but the lenses were unbroken. They are the lenses I'm wearing now, as I write this.
I could keep going and going with excerpts, which with only a few of the digressions that turned It into a 444,414 word kiddie high chair and Under the Dome into a 334,074 word boat anchor, are just by their free flowing honesty inspirational to anyone who seeks to communicate thought to print. Instead, I think I'll dust off my half-finished manuscript and channel the spirit of Carrie White to get to writing.
January 8, 2014 review
It's not every day you can buy two great books for the price of one, but with On Writing: A Memoir of the Craft, readers are treated to both an engaging autobiography of one of the 20th century's most prolific novelists, and his illuminative thoughts on the craft of writing.
Stephen King had been publishing for more than 25 years when this memoir arrived in 2000, and while he's probably been asked "Where do you get your ideas?" or "How do I become a novelist?" enough times over to want to either strangle someone or answer that a book, I love how balanced and unassuming his approach was in going about the latter.
Rather than document the genesis of every novel he ever wrote as if they were masterpieces (most are far from it, including Cujo, which King admits he can't remember writing through the cocaine and beer), or offer novelists a definitive instruction manual on how to become a bestselling author like him, King dabs his pen in each of those inkwells with welcome doses of humility and insight.
King writes about his youth -- watching his grandfather tote a giant tool box outside for the seemingly mundane task of repairing a screen door, or writing Carrie in the laundry room of the trailer he shared with his wife -- as well as his near death in 1999, when the author is struck by a distracted driver.
My greatest takeaway from the sections of the book which deal with craft is King's revelation that for him, writing feels less like dreaming up stories and more like paleontology, pulling a fossil out of the ground. A story is buried somewhere. King touches on the tools a writer can use to dig it up.
Whether you're a writer, or a fan of King's, or both, this memoir is like opening up a safety deposit box you've been given the key to and finding rich stuff (to borrow an expression from The Goonies) inside.
September 11, 2013
The book is great and if you like writing, it is probably a must read.
I could write a summary of the book, it is easy enough to summarize and there are only a few important points that King presents, but then I dont want you to get it for free. :) Go and read the book yourself, it is worth it.
Rude? As King says, "...if you expect to succeed as a writer, rudeness should be the second-to-least of your concerns. The least of all should be polite society and what it expects. If you intend to write as truthfully as you can, your days as a member of polite society are numbered, anyway."
Here is are a few excerpts from the book that might inspire you to take my advice -
The trick is to teach yourself to read in small sips as well as in long swallows.
I love this book because it agrees with all my preconceptions. Feels nice to be on the right track. It is also quite inspiring when it comes to kicking you into putting on your writing cap.
I couldn't resist putting in this anecdote about James Joyce as well:
Of course, the book is not intended just as a writing manual. Even if you never intend to write, the memoir is a wonderful graphic tale on King's life and like all his stories, it does not lack in imagination or entertainment.
Meanwhile, let me get down to some actual writing...
I could write a summary of the book, it is easy enough to summarize and there are only a few important points that King presents, but then I dont want you to get it for free. :) Go and read the book yourself, it is worth it.
Rude? As King says, "...if you expect to succeed as a writer, rudeness should be the second-to-least of your concerns. The least of all should be polite society and what it expects. If you intend to write as truthfully as you can, your days as a member of polite society are numbered, anyway."
Here is are a few excerpts from the book that might inspire you to take my advice -
If you want to be a writer, you must do two things above all others: read a lot and write a lot. There鈥檚 no way around these two things that I鈥檓 aware of, no shortcut.
I鈥檓 a slow reader, but I usually get through seventy or eighty books a year, mostly 铿乧tion. I don鈥檛 read in order to study the craft; I read because I like to read. It鈥檚 what I do at night, kicked back in my blue chair. Similarly, I don鈥檛 read 铿乧tion to study the art of 铿乧tion, but simply because I like stories. Yet there is a learning process going on. Every book you pick up has its own lesson or lessons, and quite often the bad books have more to teach than the good ones.
It鈥檚 hard for me to believe that people who read very little (or not at all in some cases) should presume to write and expect people to like what they have written, but I know it鈥檚 true. If I had a nickel for every person who ever told me he/she wanted to become a writer but 鈥渄idn鈥檛 have time to read,鈥� I could buy myself a pretty good steak dinner.
Can I be blunt on this subject? If you don鈥檛 have time to read, you don鈥檛 have the time (or the tools) to write. Simple as that.
The trick is to teach yourself to read in small sips as well as in long swallows.
Talent renders the whole idea of rehearsal meaningless; when you 铿乶d something at which you are talented, you do it (whatever it is) until your 铿乶gers bleed or your eyes are ready to fall out of your head. Even when no one is listening(or reading, or watching), every outing is a bravura performance, because you as the creator are happy. Perhaps even ecstatic. That goes for reading and writing as well as for playing a musical instrument, hitting a baseball, or running the four-forty. The sort of strenuous reading and writing program I advocate鈥攆our to six hours a day, every day鈥攚ill not seem strenuous if you really enjoy doing these things and have an aptitude for them; in fact, you may be following such a program already.
If you feel you need permission to do all the reading and writing your little heart desires, however, consider it hereby granted by yours truly.
I love this book because it agrees with all my preconceptions. Feels nice to be on the right track. It is also quite inspiring when it comes to kicking you into putting on your writing cap.
I couldn't resist putting in this anecdote about James Joyce as well:
One of my favorite stories on the subject鈥攑robably more myth than truth鈥攃oncerns James Joyce. According to the story, a friend came to visit him one day and found the great man sprawled across his writing desk in a posture of utter despair.
鈥淛ames, what鈥檚 wrong?鈥� the friend asked. 鈥淚s it the work?鈥�
Joyce indicated assent without even raising his head to look at the friend. Of course it was the work; isn鈥檛 it always?
鈥淗ow many words did you get today?鈥� the friend pursued.
Joyce (still in despair, still sprawled facedown on his desk):
鈥沦别惫别苍.鈥�
鈥淪even? But James . . . that鈥檚 good, at least for you!鈥�
鈥淵es,鈥� Joyce said, 铿乶ally looking up. 鈥淚 suppose it is . . . but I don鈥檛 know what order they go in!鈥�
Of course, the book is not intended just as a writing manual. Even if you never intend to write, the memoir is a wonderful graphic tale on King's life and like all his stories, it does not lack in imagination or entertainment.
Meanwhile, let me get down to some actual writing...
December 26, 2024
This book will forever change how I read and write.
At times, I have read a book and knew it bored me stiff, but I couldn鈥檛 quite put a finger on why. This book provided an explanation in some cases.
For the most part, King鈥檚 advice seems relatively solid although it might be a bit outdated鈥攑articularly how to get started in the writing industry.
King鈥檚 unique voice is mesmerizing, and this book is wildly addictive.
The biggest disagreement that I have with King relates to grammar. While I am far from embracing experimental types of language and pretty much deplore authors who think it is cute not to use quotation marks for dialogue (yep, I鈥檓 looking at you, Cormac McCarthy), King puts too much emphasis on grammar. He writes from his perspective as an experienced author, comfortable with writing for hours.
However, I can鈥檛 be the only person who sees a blank piece of paper and freezes, paralyzed with fear. Once my thoughts start pouring out on the page, they flood out like an unstoppable wave. The story rules the day, and my pen is merely the conduit. Grammar can always be fixed in revision, and I know that personally I need to get more comfortable with mistakes 鈥� who cares if I use a dash when I should have semi coloned? Isn鈥檛 the overall story the King? Hehe do you see the double meaning there?
On Writing is an excellent book for anyone serious about writing or reading.
The Green Light at the End of the Dock (How much I spent):
Hardcover Text 鈥� $16.25 on eBay
Audiobook 鈥� Free through Libby
Connect With Me!
At times, I have read a book and knew it bored me stiff, but I couldn鈥檛 quite put a finger on why. This book provided an explanation in some cases.
For the most part, King鈥檚 advice seems relatively solid although it might be a bit outdated鈥攑articularly how to get started in the writing industry.
King鈥檚 unique voice is mesmerizing, and this book is wildly addictive.
The biggest disagreement that I have with King relates to grammar. While I am far from embracing experimental types of language and pretty much deplore authors who think it is cute not to use quotation marks for dialogue (yep, I鈥檓 looking at you, Cormac McCarthy), King puts too much emphasis on grammar. He writes from his perspective as an experienced author, comfortable with writing for hours.
However, I can鈥檛 be the only person who sees a blank piece of paper and freezes, paralyzed with fear. Once my thoughts start pouring out on the page, they flood out like an unstoppable wave. The story rules the day, and my pen is merely the conduit. Grammar can always be fixed in revision, and I know that personally I need to get more comfortable with mistakes 鈥� who cares if I use a dash when I should have semi coloned? Isn鈥檛 the overall story the King? Hehe do you see the double meaning there?
On Writing is an excellent book for anyone serious about writing or reading.
The Green Light at the End of the Dock (How much I spent):
Hardcover Text 鈥� $16.25 on eBay
Audiobook 鈥� Free through Libby
Connect With Me!
September 8, 2022
Only Stephen King can turn an actually extremely open, transparent and useful writing guide into a quasi wonderful memoir on writing. A good book for both readers and writers. 7/12
2017 read
2017 read
May 19, 2020
Stephen King 鈥� along with Jo Rowling and a handful other novelists 鈥�, is one of the most successful writers of our time (at least in commercially), with bestsellers such as , or . One might wonder if there is some sort of magic formula he is using to write his books. The secret, of course, is that there is no secret. This book, however, is an invitation behind the scenes of the author's work and career and a masterclass for aspiring writers.
The firsts section is about King's childhood and early years as a writer of short stories when he used to jab rejection letters on a spike in his bedroom and worked at a laundry shop to earn a living. These were the years before his first big success, . King also speaks to his early alcohol addiction and how he overcame it.
He then goes on to give precise advice and opinions on several topics that shed light on his fiction writing: discipline, vocabulary, grammar, narration, description, dialogue, character, symbolism, theme, pace, revisions, publishing, and so forth. The book closes with the story of the accident he suffered while going for a stroll around his house, where he narrowly escaped death, and how writing helped him recover.
All said and done, while reading this book, the secret of Stephen King's success is palpable: his prose is crystal clear and totally without affectation or condescension. Even when he talks about the technical stuff of how to compose a sentence or a paragraph, King is often funny, smart, and always comes across as honest, sensible, and approachable. And (it's a foregone conclusion) he has a knack for telling stories 鈥� his own in this case 鈥�, in ways that make them straightforward, relatable, and moving.
The firsts section is about King's childhood and early years as a writer of short stories when he used to jab rejection letters on a spike in his bedroom and worked at a laundry shop to earn a living. These were the years before his first big success, . King also speaks to his early alcohol addiction and how he overcame it.
He then goes on to give precise advice and opinions on several topics that shed light on his fiction writing: discipline, vocabulary, grammar, narration, description, dialogue, character, symbolism, theme, pace, revisions, publishing, and so forth. The book closes with the story of the accident he suffered while going for a stroll around his house, where he narrowly escaped death, and how writing helped him recover.
All said and done, while reading this book, the secret of Stephen King's success is palpable: his prose is crystal clear and totally without affectation or condescension. Even when he talks about the technical stuff of how to compose a sentence or a paragraph, King is often funny, smart, and always comes across as honest, sensible, and approachable. And (it's a foregone conclusion) he has a knack for telling stories 鈥� his own in this case 鈥�, in ways that make them straightforward, relatable, and moving.
October 2, 2018
Stephen King shares some stories of his past and some writing tips.
This was either my fourth or fifth time reading this. I got it for Christmas around the turn of the century and I've buzz-sawed through it a few times before. The first time, I was just cutting my writing teeth. Now, with seven or eight first drafts of novels lying around, I came to the book with a completely different perspective.
Most books about writing, as I've said before, are by people I've never heard of, and are akin to a psychic handing out lottery numbers. If he or she can predict that, why aren't they using the lottery numbers for themselves? Since Stephen King is the big kahuna, I figure he could teach me a few things.
The biography chapters were my favorite the first time around and were still the most fun to read. I had vague recollections of these chapters, such as little Stevie needing fluid drained from his ears, and King's substance abuse. As a man who's skated close to the substance abuse abyss a couple times over the years, his cautionary tale seemed very familiar.
The writing advice was helpful but this was in no way my favorite book on writing. It seems Old Stevie makes a lot more up on the fly than I'm comfortable doing. Still, his advice on omitting needless words and the second draft being the first draft less 10% seemed helpful. Sticking with your first word choice also seems like sound advice.
I'd forgotten there was a section of 1408 included, in first and second draft forms. It was an interesting look behind the curtain and made a lot of sense.
Anyway, if you're looking for writing advice, you could do a lot worse than sitting at the feet of the King for a few hours and absorbing what he has to say. I'll try to apply his lessons the next time I write something. Four out of five stars.
This was either my fourth or fifth time reading this. I got it for Christmas around the turn of the century and I've buzz-sawed through it a few times before. The first time, I was just cutting my writing teeth. Now, with seven or eight first drafts of novels lying around, I came to the book with a completely different perspective.
Most books about writing, as I've said before, are by people I've never heard of, and are akin to a psychic handing out lottery numbers. If he or she can predict that, why aren't they using the lottery numbers for themselves? Since Stephen King is the big kahuna, I figure he could teach me a few things.
The biography chapters were my favorite the first time around and were still the most fun to read. I had vague recollections of these chapters, such as little Stevie needing fluid drained from his ears, and King's substance abuse. As a man who's skated close to the substance abuse abyss a couple times over the years, his cautionary tale seemed very familiar.
The writing advice was helpful but this was in no way my favorite book on writing. It seems Old Stevie makes a lot more up on the fly than I'm comfortable doing. Still, his advice on omitting needless words and the second draft being the first draft less 10% seemed helpful. Sticking with your first word choice also seems like sound advice.
I'd forgotten there was a section of 1408 included, in first and second draft forms. It was an interesting look behind the curtain and made a lot of sense.
Anyway, if you're looking for writing advice, you could do a lot worse than sitting at the feet of the King for a few hours and absorbing what he has to say. I'll try to apply his lessons the next time I write something. Four out of five stars.
July 20, 2023
"The scariest moment is always just before you start. After that, things can only get better."
I've been a Stephen King fan since the 80s, but after reading this book found that I knew less about his life than I realized. He had a wild ride pre-publication and after.
While the writing portion of this book might not be for everyone, any King fan will love the memoir sections. His terrific sense of humor and straightforward writing tips made this an enjoyable read.
Right on, SK.
Write on!
"If you want to be a writer, you must do two things above all others: read a lot and write a lot. There鈥檚 no way around these two things that I鈥檓 aware of, no shortcut."
"Writing fiction, especially a long work of fiction, can be a difficult, lonely job; it鈥檚 like crossing the Atlantic Ocean in a bathtub."
"I was ashamed. I have spent a good many years since鈥攖oo many, I think鈥攂eing ashamed about what I write. I think I was forty before I realized that almost every writer of fiction and poetry who has ever published a line has been accused by someone of wasting his or her God-given talent. If you write (or paint or dance or sculpt or sing, I suppose), someone will try to make you feel lousy about it, that鈥檚 all. I鈥檓 not editorializing, just trying to give you the facts as I see them."
I've been a Stephen King fan since the 80s, but after reading this book found that I knew less about his life than I realized. He had a wild ride pre-publication and after.
While the writing portion of this book might not be for everyone, any King fan will love the memoir sections. His terrific sense of humor and straightforward writing tips made this an enjoyable read.
Right on, SK.
Write on!
"If you want to be a writer, you must do two things above all others: read a lot and write a lot. There鈥檚 no way around these two things that I鈥檓 aware of, no shortcut."
"Writing fiction, especially a long work of fiction, can be a difficult, lonely job; it鈥檚 like crossing the Atlantic Ocean in a bathtub."
"I was ashamed. I have spent a good many years since鈥攖oo many, I think鈥攂eing ashamed about what I write. I think I was forty before I realized that almost every writer of fiction and poetry who has ever published a line has been accused by someone of wasting his or her God-given talent. If you write (or paint or dance or sculpt or sing, I suppose), someone will try to make you feel lousy about it, that鈥檚 all. I鈥檓 not editorializing, just trying to give you the facts as I see them."
July 2, 2016
Simply the greatest book ever written about the craft of writing. I have read it more times than I can count, and each new encounter teaches me something new. I imagine even non-writers would thoroughly enjoy Mr. King's memoir.
May 26, 2018
"Books are a uniquely portable magic."
This book blew my mind!!! I mean, I knew I loved Stephen King and I already knew a lot of the things you learn in this book, but to read it in his own words is even better!
The biographical part of the book was truly amazing, this man has come through so much, whether it's alcoholism, the drug addiction or the accident which nearly killed him. And he's so humble and honest about all of these things. And it just makes me admire him even more.
As for the actual part where he discusses writing, it's so eye-opening to get a look into how he approaches his work and his stories, and where his ideas come from. I'm by no means an aspiring writer but found it fascinating to read about the do's and don'ts of writing. Some things are fairly obvious, but other things I never would have thought of!
My favourite thing about this book is basically any time he mentions his wife, Tabby. It's like you can almost feel the love and admiration radiate from the pages. These two are couple goals!
I thoroughly loved every single page in the book and didn't want it to end! It was one of the best King books I've ever read. His personality and sense of humour just shine right through!
Absolutely brilliant.
Update: listened to the audiobook in May 2018 and it was EVEN BETTER as the man himself narrates it. Highly recommend to all Constant Readers and aspiring writers.
This book blew my mind!!! I mean, I knew I loved Stephen King and I already knew a lot of the things you learn in this book, but to read it in his own words is even better!
The biographical part of the book was truly amazing, this man has come through so much, whether it's alcoholism, the drug addiction or the accident which nearly killed him. And he's so humble and honest about all of these things. And it just makes me admire him even more.
As for the actual part where he discusses writing, it's so eye-opening to get a look into how he approaches his work and his stories, and where his ideas come from. I'm by no means an aspiring writer but found it fascinating to read about the do's and don'ts of writing. Some things are fairly obvious, but other things I never would have thought of!
My favourite thing about this book is basically any time he mentions his wife, Tabby. It's like you can almost feel the love and admiration radiate from the pages. These two are couple goals!
I thoroughly loved every single page in the book and didn't want it to end! It was one of the best King books I've ever read. His personality and sense of humour just shine right through!
Absolutely brilliant.
Update: listened to the audiobook in May 2018 and it was EVEN BETTER as the man himself narrates it. Highly recommend to all Constant Readers and aspiring writers.
July 14, 2020
On Writing: A Memoir of the Craft, Stephen King
This superb volume is a revealing and practical view of the writer's craft, comprising the basic tools of the trade every writer must have. King's advice is grounded in his vivid memories from childhood through his emergence as a writer, from his struggling early career to his widely reported near-fatal accident in 1999 -- and how the inextricable link between writing and living spurred his recovery. Brilliantly structured, friendly and inspiring, On Writing will empower and entertain everyone who reads it -- fans, writers, and anyone who loves a great story well told. From back cover.
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鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 23/04/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
This superb volume is a revealing and practical view of the writer's craft, comprising the basic tools of the trade every writer must have. King's advice is grounded in his vivid memories from childhood through his emergence as a writer, from his struggling early career to his widely reported near-fatal accident in 1999 -- and how the inextricable link between writing and living spurred his recovery. Brilliantly structured, friendly and inspiring, On Writing will empower and entertain everyone who reads it -- fans, writers, and anyone who loves a great story well told. From back cover.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 蹖丕夭丿賴 賲丕賴 丕讴鬲亘乇 爻丕賱 2017 賲蹖賱丕丿蹖
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毓賳賵丕賳: 乇丕夭 賳賵卮鬲賳貨 賳賵蹖爻賳丿賴: 丕爻鬲蹖賮賳 讴蹖賳诏貨 賲鬲乇噩賲 毓賱蹖 丨丕噩蹖鈥屬傌ж迟呚� 賵蹖乇丕蹖卮 丿賮鬲乇 丕賳鬲卮丕乇丕鬲 賳诏丕賴貨 鬲賴乇丕賳 賳诏丕賴鈥忊€� 1396貨 丿乇 328氐貨 卮丕亘讴 9786003762190貨
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讴蹖賳诏 丿乇爻鈥� 诏賮鬲丕乇賴丕蹖 禺賵丿貙 丿乇 丕蹖賳 讴鬲丕亘 乇丕 亘丕 鬲毓乇蹖賮 趩蹖爻鬲蹖 賳賵蹖爻賳丿诏蹖 丌睾丕夭 讴乇丿賴貙 賵 丿乇 丕丿丕賲賴貙 丕夭 噩毓亘賴 丕亘夭丕乇蹖 爻禺賳 诏賮鬲賴貙 讴賴 亘賴 诏賮鬲賴 蹖 賵蹖貙 亘乇丕蹖 賳賵卮鬲賳 亘丕蹖丿 丿乇 丕禺鬲蹖丕乇 賴乇 賳賵蹖爻賳丿賴鈥� 丕蹖 亘丕卮丿貨 亘禺卮蹖 丿蹖诏乇蹖 丕夭 丕蹖賳 讴鬲丕亘 賳蹖夭 卮丕賲賱 趩賴丕乇 诏賮鬲丕乇 噩丿丕诏丕賳賴 丿乇亘丕乇賴 蹖 趩诏賵賳诏蹖 賳賵卮鬲賳 賲鬲賳 丿丕爻鬲丕賳 丕爻鬲.貨
讴蹖賳诏 丿乇 亘禺卮蹖 丕夭 讴鬲丕亘 禺賵丿 賲蹖鈥屬嗁堐屫迟嗀�: 丿丕蹖乇賴 蹖 賵丕跇诏丕賳鬲丕賳 乇丕貙 胤亘賯賴 丕賵賱 噩毓亘賴 蹖 丕亘夭丕乇鬲丕賳 亘诏匕丕乇蹖丿貙 賵 毓賲丿鬲丕 鬲賱丕卮蹖 亘乇丕蹖 亘賴亘賵丿 丌賳貙 亘賴 禺乇噩 賳丿賴蹖丿貨 蹖讴蹖 丕夭 亘丿鬲乇蹖賳 讴丕乇賴丕蹖蹖 讴賴 賲蹖鬲賵丕賳蹖丿貙 丿乇 丨賯 賳賵卮鬲賴鈥� 鬲丕賳 亘讴賳蹖丿貙 丕蹖賳 丕爻鬲 讴賴 讴賱賲丕鬲卮 乇丕 鬲夭卅蹖賳 讴賳蹖丿貙 賵 毓賲丿丕 丿賳亘丕賱 讴賱賲丕鬲 胤賵賱丕賳蹖 亘诏乇丿蹖丿貙 趩賵賳 卮丕蹖丿 蹖讴 讴賲 丕夭 讴賱賲丕鬲 讴賵鬲丕賴鈥屫з� 禺噩丕賱鬲 賲蹖鈥屭┴篡屫�.貨 賲孬賱 丕蹖賳 賲蹖鈥屬呚з嗀� 讴賴 丨蹖賵丕賳 禺丕賳诏蹖鈥屫з� 乇丕貙 亘丕 賱亘丕爻 卮亘 鬲夭卅蹖蹖賳 賲蹖鈥屭┵嗃屫�.貨 賴賲蹖賳 丨丕賱丕貙 亘賴 禺賵丿鬲丕賳 賯賵賱 丿賴蹖丿貙 丕诏夭 賲賳馗賵乇鬲丕賳 芦丕賳毓丕賲禄 亘賵丿貙 丕夭 芦賲賵丕噩亘禄 丕爻鬲賮丕丿賴 賳讴賳蹖丿貙 賵 賴蹖趩 賵賯鬲 亘賴 噩丕蹖 芦噩丕賳貙 亘賴 丿爻鬲卮賵蹖蹖 乇賮鬲 鬲丕 讴丕乇卮 乇丕 亘讴賳丿禄 賳诏賵蹖蹖丿 芦噩丕賳貙 亘丿丕賳鈥屫� 诏丕賲 賳賴丕丿 鬲丕 毓賲賱蹖丕鬲 丿賮毓 乇丕 丌睾丕夭 賳賲丕蹖丿禄.貨 丕诏乇 賮讴乇 賲蹖鈥屭┵嗃屫� 芦丕賳噩丕賲 丌賳 讴丕乇禄 丿乇 丿爻鬲卮賵蹖蹖貙 丕夭 賳馗乇 禺賵丕賳賳丿賴 亘蹖鈥屫必ㄛ屫屫� 賵 蹖丕 鬲賵賴蹖賳鈥屫①呟屫� 丕爻鬲貙 亘丕 禺蹖丕賱 乇丕丨鬲 亘诏賵蹖蹖丿 芦噩丕賳 乇賮鬲 丿爻鬲卮賵蹖蹖禄.貨 賲蹖鈥屫堌з囐� 爻丕丿賴 賵 爻乇乇丕爻鬲 氐丨亘鬲 讴賳蹖丿.貨 亘賴 蹖丕丿 丿丕卮鬲賴 亘丕卮蹖丿貙 賯丕賳賵賳 胤賱丕蹖蹖 丿丕蹖乇賴 蹖 賵丕跇诏丕賳 丌爻丕賳 丕爻鬲貙 讴賴 賴賲丕賳 賳禺爻鬲蹖賳 讴賱賲賴鈥� 丕蹖 乇丕 讴賴 亘賴 匕賴賳 賲蹖鈥屫③屫� 丕诏乇 賲賳丕爻亘 賵 乇賳诏丕乇賳诏 亘賵丿貙 丕爻鬲賮丕丿賴 讴賳蹖丿.貨 丕诏乇 賲讴孬 讴賳蹖丿貙 賵 亘蹖卮鬲乇 賮讴乇 讴賳蹖丿貙 讴賱賲賴 蹖 丿蹖诏乇蹖 亘賴 匕賴賳鬲丕賳 賲蹖鈥屫③屫� 賵賱蹖 賲胤賲卅賳丕貙 丕蹖賳 蹖讴蹖 亘賴 禺賵亘蹖 诏夭蹖賳賴 丕賵賱 賳蹖爻鬲貙 賵 蹖丕 亘賴 賲毓賳蹖 賲賵乇丿 賳馗乇 卮賲丕貙 卮亘丕賴鬲蹖 賳丿丕乇丿.貨 倬丕蹖丕賳 賳賯賱
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 23/04/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
April 16, 2018
There is NO ONE I trust more than Stephen King when it comes to writing
January 4, 2020
I'm a fan of Stephen King's earlier works and a lot of the classic movie adaptations. I wouldn't say I'm a superfan, but since I am working on changing my status of aspiring writer to published author, I can use all the help I can get, especially from someone as prolific and universally read as he.
We all know King is a master storyteller. So it's not surprising that for much of this book, he's doing just that. The first big chunk of this book is his "C.V." - a charming memoir of his childhood when the love for writing germinated and was encouraged by his single mother, his teenage years when he collected rejection slips from magazines, his young married life when he balanced teaching, writing, fatherhood and drinking. And then his literary breakthrough, with . After the "Toolbox" and "On Writing" sections he returns again to his story, recounting the time in 1999 when he got (almost fatally) hit by a weirdo driving a van.
What I liked
* he is so passionate about "the craft"
* he's pretty encouraging and positive - lots of quotable quotes
* he writes in a humble, humorous, accessible style
* we learn a lot about his journey as a writer
* he gives so much credit to his wife, Tabitha
* he uses many examples to illustrate points using his own work
* he considers lots of reading to be essential (and there are two great book lists at the end - I just love book lists!)
Things I didn't really like
* his section on the writer's toolbox was really short, with a lot of emphasis on concepts that seem a bit basic (nix on adverbs, avoid passive voice) for serious writers
* he's really specific about certain things (for example, in dialogue only use 'he said' or 'she said'), which I think is limiting
* he's really NOT specific about most big things (this is my main disappointment with the book). Stories for him come "quite literally from nowhere", are likened to "fossils" that just need to be dug out of the ground. I have no doubt this is true for him, but uh, thanks. I'll just go and dig the fossil, and boom, my story is complete. He mentions that he doesn't plan how his books go, they just evolve with a mind of their own. He doesn't think about symbolism, it just shows up. He doesn't think about theme, but notices that it's there after the fact. Again, I'm sure it's true - I am not going to dispute the magic involved in writing. But if it's pretty much all magic, then why write a book about it?? Actually, he does mention that any decent writer reading this book doesn't really need it, or any other book of its kind. He's not into 'how to', and isn't a fan of writing workshops or courses either (hm).
Anyway, I guess what I'm trying to say is I was really hoping to hear more practical writing advice about structure, what makes a great story, how to create tension, memorable characters, etc and I came up somewhat lacking. That isn't what this book is setting out to do.
Still, everything this guy says has worked for him, tremendously (oops! there's a pesky adverb!), and I am inspired by his deep commitment to, and joy through, the craft.
You must not come lightly to the blank page.
We all know King is a master storyteller. So it's not surprising that for much of this book, he's doing just that. The first big chunk of this book is his "C.V." - a charming memoir of his childhood when the love for writing germinated and was encouraged by his single mother, his teenage years when he collected rejection slips from magazines, his young married life when he balanced teaching, writing, fatherhood and drinking. And then his literary breakthrough, with . After the "Toolbox" and "On Writing" sections he returns again to his story, recounting the time in 1999 when he got (almost fatally) hit by a weirdo driving a van.
What I liked
* he is so passionate about "the craft"
* he's pretty encouraging and positive - lots of quotable quotes
* he writes in a humble, humorous, accessible style
* we learn a lot about his journey as a writer
* he gives so much credit to his wife, Tabitha
* he uses many examples to illustrate points using his own work
* he considers lots of reading to be essential (and there are two great book lists at the end - I just love book lists!)
Things I didn't really like
* his section on the writer's toolbox was really short, with a lot of emphasis on concepts that seem a bit basic (nix on adverbs, avoid passive voice) for serious writers
* he's really specific about certain things (for example, in dialogue only use 'he said' or 'she said'), which I think is limiting
* he's really NOT specific about most big things (this is my main disappointment with the book). Stories for him come "quite literally from nowhere", are likened to "fossils" that just need to be dug out of the ground. I have no doubt this is true for him, but uh, thanks. I'll just go and dig the fossil, and boom, my story is complete. He mentions that he doesn't plan how his books go, they just evolve with a mind of their own. He doesn't think about symbolism, it just shows up. He doesn't think about theme, but notices that it's there after the fact. Again, I'm sure it's true - I am not going to dispute the magic involved in writing. But if it's pretty much all magic, then why write a book about it?? Actually, he does mention that any decent writer reading this book doesn't really need it, or any other book of its kind. He's not into 'how to', and isn't a fan of writing workshops or courses either (hm).
Anyway, I guess what I'm trying to say is I was really hoping to hear more practical writing advice about structure, what makes a great story, how to create tension, memorable characters, etc and I came up somewhat lacking. That isn't what this book is setting out to do.
Still, everything this guy says has worked for him, tremendously (oops! there's a pesky adverb!), and I am inspired by his deep commitment to, and joy through, the craft.
You must not come lightly to the blank page.
October 3, 2024
This is very much a book of three parts. In the first section, King provides a series of anecdotes that seem somewhat fractured and random. They loosely covered his early years, the time before he became a successful writer. Some of the tales are a little spooky, to be honest. Others clearly portray what it was like for him, his wife, and his children when he was spending long hours writing whilst also holding down a day job. He had a number of jobs, some pretty menial, but he eventually settled into the role of teaching students how to write. His wife, it is evident, was a huge supporting influence: not only did she allow him the uninterrupted time to 鈥榙o his stuff鈥�, she also served (and still does) as the primary reader of his second drafts - nobody reads his first drafts, except him.
The second section is where he talks about 鈥� or maybe lectures on 鈥� the art of writing. He first covers the basics of vocabulary, grammar, sentence, and paragraph construction. He doesn鈥檛 linger over the fine detail, but he makes valid points regarding the importance of getting these elements right. He then takes the reader (and maybe prospective writer) through dialogue, character development, and the need to focus on situations rather than plots. I found this last bit really interesting. He provides useful examples to illustrate his points and even an exercise for the reader with a prompt to 鈥榣et him know鈥� how it went! This was the meatiest part of the book, and his mantra seemed to be: read a lot and write a lot. He鈥檚 a big believer in putting in the effort and the hours 鈥� you can鈥檛 beat hard work and perseverance (that鈥檚 my paraphrasing of what seemed to be one of his key messages). He closes this section down with quite a lengthy piece on why it鈥檚 important for writers to find an agent and how to set about achieving this.
The final part of the book is back to the memoir, but is focused entirely on a serious road accident that almost took his life. It鈥檚 pretty harrowing and told in some detail. It鈥檚 clear that though he was seriously injured, he was actually very lucky to survive. I鈥檓 not quite sure why this was told as a stand-alone piece at the end. Maybe because the first section was all about early events that helped make him the writer he became, and the accident just didn鈥檛 fit the chronology? Either way, it highlights the fact that the book does feel like a collection of bits and pieces.
I listened to the audio version, read by King. He鈥檚 not the most engaging reader in the world, but there is something compelling about hearing the material read by the man himself. I enjoyed this book in audio format.
In summary, it鈥檚 a book that鈥檒l be of interest to fans of the author, who just want to know more about him, his life, and his influences. It鈥檚 also something that will interest people who write or plan to write. I鈥檝e read a few books from or about writers where some insight into their working methodology was discussed 鈥� Lawrence Block, Lee Child and Haruki Murakami amongst them 鈥� and this one stands up pretty well against the rest.
The second section is where he talks about 鈥� or maybe lectures on 鈥� the art of writing. He first covers the basics of vocabulary, grammar, sentence, and paragraph construction. He doesn鈥檛 linger over the fine detail, but he makes valid points regarding the importance of getting these elements right. He then takes the reader (and maybe prospective writer) through dialogue, character development, and the need to focus on situations rather than plots. I found this last bit really interesting. He provides useful examples to illustrate his points and even an exercise for the reader with a prompt to 鈥榣et him know鈥� how it went! This was the meatiest part of the book, and his mantra seemed to be: read a lot and write a lot. He鈥檚 a big believer in putting in the effort and the hours 鈥� you can鈥檛 beat hard work and perseverance (that鈥檚 my paraphrasing of what seemed to be one of his key messages). He closes this section down with quite a lengthy piece on why it鈥檚 important for writers to find an agent and how to set about achieving this.
The final part of the book is back to the memoir, but is focused entirely on a serious road accident that almost took his life. It鈥檚 pretty harrowing and told in some detail. It鈥檚 clear that though he was seriously injured, he was actually very lucky to survive. I鈥檓 not quite sure why this was told as a stand-alone piece at the end. Maybe because the first section was all about early events that helped make him the writer he became, and the accident just didn鈥檛 fit the chronology? Either way, it highlights the fact that the book does feel like a collection of bits and pieces.
I listened to the audio version, read by King. He鈥檚 not the most engaging reader in the world, but there is something compelling about hearing the material read by the man himself. I enjoyed this book in audio format.
In summary, it鈥檚 a book that鈥檒l be of interest to fans of the author, who just want to know more about him, his life, and his influences. It鈥檚 also something that will interest people who write or plan to write. I鈥檝e read a few books from or about writers where some insight into their working methodology was discussed 鈥� Lawrence Block, Lee Child and Haruki Murakami amongst them 鈥� and this one stands up pretty well against the rest.
April 30, 2020
This is one of my favorite books on writing and I've read it several times. Since it's also a well written memoir the structure as presented becomes an easy way to learn the art of writing. At the back of the book is a section he shows how he edits some of his own work. He also describes what happened when the van struck him while he walked on the side of the road. Absolutely chilling.
This book is a great insight into a brilliant craftsman, one of the best writer's of our time. I highly recommend this book for readers and writers alike.
David Putnam author of the Bruno Johnson series.
This book is a great insight into a brilliant craftsman, one of the best writer's of our time. I highly recommend this book for readers and writers alike.
David Putnam author of the Bruno Johnson series.
June 19, 2020
Audiobook.... Steven King
Thoroughly enjoyable...
with Stephen King
A *FEW* KEY POINTS -and suggestions from 鈥楾he King鈥�......
....Narrative, description, and dialogue!!! [three essentials]
....Be honest [I certainly try]
....READ .... for a few minutes
at a time ... or for 4 and 5 hour stretches, daily. [ I do this].
....Health and Family are important to 鈥楰ing鈥� [I like this man]
....Turn off the TV [I鈥檓 watching Poldark right now - exceptions must be made]
....WRITE at least a thousand words a day, if serious about being a writer.
[I鈥檓 not a serious writer; I鈥檓 a serious reader].
There are 5,062 reviews on Amazon with 83% 5-star ratings!
There are:
16, 813 reviews on 欧宝娱乐 with a 4.33 rating!
MOST PEOPLE enjoyed this book - ME TOO!
King has great advice on storytelling & writing.....
( I liked his 鈥榮tories鈥� within his advice, very much, too)
鈥淣补谤谤补迟颈惫别-诲别蝉肠谤颈辫迟颈辞苍蝉-诲颈补濒辞驳耻别鈥�....
A+ for Stephen King!!
Wonderful audiobook!!!
Thoroughly enjoyable...
with Stephen King
A *FEW* KEY POINTS -and suggestions from 鈥楾he King鈥�......
....Narrative, description, and dialogue!!! [three essentials]
....Be honest [I certainly try]
....READ .... for a few minutes
at a time ... or for 4 and 5 hour stretches, daily. [ I do this].
....Health and Family are important to 鈥楰ing鈥� [I like this man]
....Turn off the TV [I鈥檓 watching Poldark right now - exceptions must be made]
....WRITE at least a thousand words a day, if serious about being a writer.
[I鈥檓 not a serious writer; I鈥檓 a serious reader].
There are 5,062 reviews on Amazon with 83% 5-star ratings!
There are:
16, 813 reviews on 欧宝娱乐 with a 4.33 rating!
MOST PEOPLE enjoyed this book - ME TOO!
King has great advice on storytelling & writing.....
( I liked his 鈥榮tories鈥� within his advice, very much, too)
鈥淣补谤谤补迟颈惫别-诲别蝉肠谤颈辫迟颈辞苍蝉-诲颈补濒辞驳耻别鈥�....
A+ for Stephen King!!
Wonderful audiobook!!!
November 21, 2016
On Writing: A Memoir of the Craft offers an illuminating look at Stephen King's life, highlighting moments that shaped him as an author and revealing lessons he gained from decades of practice and publication.
King is unapologetically himself, blending whit and honesty with sophomoric humor and the occasional curse word. For example, when discussing the sin of using passive voice, King provides an example of how not to construct a sentence, followed by the type of commentary one can expect to find throughout his book:
How about this: My first kiss will always be recalled by me as how my romance with Shayna was begun. Oh, man - who farted, right?
When it comes to writing, King offers advice in a comprehensive manner; he is concise and straightforward in his presentation of the fundamental approaches to writing that have shaped him as an author.
There is no Idea Dump, no Story Central, no Island of the Buried Bestsellers; good story ideas seem to come quite literally from nowhere, sailing at you right out of the empty sky: two previously unrelated ideas come together and make something new under the sun. Your job isn't to find these ideas but to recognize them when they show up.
King explains his approach to writing and reveals, without indirectly stating, that he is a discovery writer. He goes so far as to dismiss the validity of first plotting a book before writing. This was the only element of the book that warranted a raised eyebrow. Some authors are plotters and some are discovery writers. Readers are well advised to remember that either approach to writing is acceptable.
From simple stories about writing newspaper articles as a child, to the gut wrenching tale of his recovery from a near-fatal accident, Stephen King's narrative of his own life is arresting from start to finish. On Writing: A Memoir of the Craft is a go-to book for aspiring authors, fans of Stephen King, and any artist feeling creatively stumped that would benefit from a kick in the rear.
King is unapologetically himself, blending whit and honesty with sophomoric humor and the occasional curse word. For example, when discussing the sin of using passive voice, King provides an example of how not to construct a sentence, followed by the type of commentary one can expect to find throughout his book:
How about this: My first kiss will always be recalled by me as how my romance with Shayna was begun. Oh, man - who farted, right?
When it comes to writing, King offers advice in a comprehensive manner; he is concise and straightforward in his presentation of the fundamental approaches to writing that have shaped him as an author.
There is no Idea Dump, no Story Central, no Island of the Buried Bestsellers; good story ideas seem to come quite literally from nowhere, sailing at you right out of the empty sky: two previously unrelated ideas come together and make something new under the sun. Your job isn't to find these ideas but to recognize them when they show up.
King explains his approach to writing and reveals, without indirectly stating, that he is a discovery writer. He goes so far as to dismiss the validity of first plotting a book before writing. This was the only element of the book that warranted a raised eyebrow. Some authors are plotters and some are discovery writers. Readers are well advised to remember that either approach to writing is acceptable.
From simple stories about writing newspaper articles as a child, to the gut wrenching tale of his recovery from a near-fatal accident, Stephen King's narrative of his own life is arresting from start to finish. On Writing: A Memoir of the Craft is a go-to book for aspiring authors, fans of Stephen King, and any artist feeling creatively stumped that would benefit from a kick in the rear.
September 13, 2022
Desde muy peque帽o disfruto de la escritura, pero siempre me he limitado por miedo a no ser bueno, por no saber hacerlo o porque simplemente no tengo la motivaci贸n suficiente. Este libro ayud贸 a quitar cada inseguridad e incertidumbre sobre este miedo.
Stephen King ha sido uno de mis escritores favoritos por un buen tiempo y gracias a sus consejos, an茅cdotas y recomendaciones, puedo comprender el 茅xito en su carrera literaria. Me sorprend铆 mucho con los or铆genes de algunas de sus novelas y los consejos que recibi贸 para poder seguir cre谩ndolas.
Si tienes ganas de empezar a escribir y no sabes c贸mo hacerlo, este es un gran comienzo. Eso si, puede que si no conozcas de antes a King, te aburran ciertas partes al ser momentos muy 铆ntimos de su vida.
Yo me qued茅 con un gran sabor de boca, aprend铆 much铆simo y lo 煤nico que quiero hacer ahora es escribir hasta no poder m谩s.
Stephen King ha sido uno de mis escritores favoritos por un buen tiempo y gracias a sus consejos, an茅cdotas y recomendaciones, puedo comprender el 茅xito en su carrera literaria. Me sorprend铆 mucho con los or铆genes de algunas de sus novelas y los consejos que recibi贸 para poder seguir cre谩ndolas.
Si tienes ganas de empezar a escribir y no sabes c贸mo hacerlo, este es un gran comienzo. Eso si, puede que si no conozcas de antes a King, te aburran ciertas partes al ser momentos muy 铆ntimos de su vida.
Yo me qued茅 con un gran sabor de boca, aprend铆 much铆simo y lo 煤nico que quiero hacer ahora es escribir hasta no poder m谩s.
July 19, 2018
For anyone who鈥檚 a Stephen King fan or aspiring writer, this should be a must-have. I listened to the Audible that鈥檚 read by King, and I highly recommend it. King鈥檚 as good of a storyteller vocally as he is on paper. The breakdown of the book goes like this 鈥� the first third is about his background, and what lead him to writing. The middle third is about the mechanics of writing, and for me it was more informative than any college course. He discusses 鈥渧oice,鈥� and themes, and story, and dialogue, and characters, and how he develops and assembles each of these elements. The final third delves into the accident that almost killed him. Five easy stars!
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