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On Writing: 10th Anniversary Edition: A Memoir of the Craft Paperback – Special Edition, July 6, 2010
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Short and snappy as it is, Stephen King's On Writing really contains two books: a fondly sardonic autobiography and a tough-love lesson for aspiring novelists. The memoir is terrific stuff, a vivid description of how a writer grew out of a misbehaving kid. You're right there with the young author as he's tormented by poison ivy, gas-passing babysitters, uptight schoolmarms, and a laundry job nastier than Jack London's. It's a ripping yarn that casts a sharp light on his fiction. This was a child who dug Yvette Vickers from Attack of the Giant Leeches, not Sandra Dee. "I wanted monsters that ate whole cities, radioactive corpses that came out of the ocean and ate surfers, and girls in black bras who looked like trailer trash." But massive reading on all literary levels was a craving just as crucial, and soon King was the published author of "I Was a Teen-Age Graverobber." As a young adult raising a family in a trailer, King started a story inspired by his stint as a janitor cleaning a high-school girls locker room. He crumpled it up, but his writer wife retrieved it from the trash, and using her advice about the girl milieu and his own memories of two reviled teenage classmates who died young, he came up with Carrie. King gives us lots of revelations about his life and work. The kidnapper character in Misery, the mind-possessing monsters in The Tommyknockers, and the haunting of the blocked writer in The Shining symbolized his cocaine and booze addiction (overcome thanks to his wife's intervention, which he describes). "There's one novel, Cujo, that I barely remember writing."
King also evokes his college days and his recovery from the van crash that nearly killed him, but the focus is always on what it all means to the craft. He gives you a whole writer's "tool kit": a reading list, writing assignments, a corrected story, and nuts-and-bolts advice on dollars and cents, plot and character, the basic building block of the paragraph, and literary models. He shows what you can learn from H.P. Lovecraft's arcane vocabulary, Hemingway's leanness, Grisham's authenticity, Richard Dooling's artful obscenity, Jonathan Kellerman's sentence fragments. He explains why Hart's War is a great story marred by a tin ear for dialogue, and how Elmore Leonard's Be Cool could be the antidote.
King isn't just a writer, he's a true teacher. --Tim Appelo --This text refers to the Mass Market Paperback edition.
From Publishers Weekly
"No one ever asks [popular novelists] about the language," Amy Tan once opined to King. Here's the uber-popular novelist's response to that unasked question a three-part book whose parts don't hang together much better than those of the Frankenstein monster, but which, like the monster, exerts a potent fascination and embodies important lessons and truths. The book divides into memoir, writing class, memoir. Many readers will turn immediately to the final part, which deals with King's accident last year and its aftermath. This material is tightly controlled, as good and as true as anything King has written, an astonishing blend of anger, awe and black humor. Of Bryan Smith (who drove the van that crushed King) watching the horribly wounded writer, King writes, "Like his face, his voice is cheery, only mildly interested. He could be watching all this on TV...." King's fight for life, and then for the writing life, rivets attention and inflames admiration as does the love he expresses throughout for his wife, novelist Tabitha. The earlier section of memoir, which covers in episodic fashion the formation of King the Writer, is equally absorbing. Of particular note are a youthful encounter with a babysitter that armchair psychologists will seize upon to explain King's penchant for horror, and King's experiences as a sports reporter for the Lisbon, Maine, Weekly Express, where he learned and here passes on critical advice about writing tight. King's writing class 101, which occupies the chewy center of the book, provides valuable advice to novice scribesDalthough other than King's voice, idiosyncratic and flush with authority, much of what's here can be found in scores of other writing manuals. What's notable is what isn't here: King's express aim is to avoid "bullshit," and he manages to pare what the aspiring writer needs to know from idea to execution to sale to a few simple considerations and rules. For illustration, he draws upon his own work and that of others to show what's good prose and what's not, naming names (good dialogue: Elmore Leonard; bad dialogue: John Katzenbach). He offers some exercises as well. The real importance of this congenial, ramshackle book, however, lies neither in its autobiography nor in its pedagogy, but in its triumphant vindication of the popular writer, including the genre author, as a writer. King refuses to draw, and makes a strong case for the abolition of, the usual critical lines between Carver and Chandler, Greene and Grisham, DeLillo and Dickens. Given the intelligence and common sense of his approach, perhaps his books' many readers will join him in that refusal. 500,000 first printing. (Oct.)
Copyright 2000 Reed Business Information, Inc. --This text refers to the Mass Market Paperback edition.
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Top customer reviews
I heard of this book by accident, and thought I would read it for insights into Mr. King’s thinking about writing, and how writing has fit into his life. I feel he treats us to various points of view that are well worth reading about, even if one is not a fan of his books.
His fans and detractors will cover all the ground necessary in the Amazon reviews. I can say as an outsider to his world, his book gives a feeling for his thoughts as a writer and his views that takes one into his world. One feels like writing, even dedicating one’s life to writing, both during and after reading the book. Not necessarily in his style. He awakens in one an urgency about writing, and how this activity can just fill one’s life with meaning.
Another easy read from a master spinner-of-yarns. The advice King offers is plainly put and easy to understand, the basic thrust of which is "if you want to write, you must do two things: read a lot, and write a lot." Clearly, there's more to it than that: "the adverb is not your friend" and the idea of 'first, writing with the door closed and then with it open.' There are other particulars that King covers, as well. He makes a few observations only he is uniquely qualified to do, as well. Not all of the observations relate to writing, but they're all pretty amusing. I never thought I would read the sentence, "Besides, I was enchanted by the idea of sh*tting like a cowboy." Now I have, and I say thank ya for it. ;-)
Perhaps the most salient points in this memoir are 1) that the best and truest way to get better at writing is to do it and 2) that only a small percentage of talented writers are able to support themselves and their families with their work. Neither of these points should come as a surprise. While the first point offers a comforting kind of support and a way to bolster/steel resolve for the work ahead, that sentiment is put at odds with the second point.But that's the way of it.
TLDR: if you like to write, you should read this. If you're interested in learning a bit of King's history/background, you should read this. If you're into learning an alternate approach to the creative process... you get the point. ;-)