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On Writing Paperback – July 12, 2001
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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 Hardcover 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 Hardcover edition.
Top customer reviews
.....There are a plethora of takeaways from this fine reference, far too many to include in my review. I will attempt to prioritize the more important ones for myself and relay them to anyone kind enough to read my review on Amazon. If I have neglected to mention any of value, they have probably been mentioned or discussed before in countless other reviews of this work.
Takeaway 1--Omit needless words, adverbs, the passive voice, and excessive description whenever possible.
Takeaway 2--Imitation often precedes creation. SK related how as a child he often copied stories from authors he enjoyed verbatim; sometimes omitting and sometimes adding story fragments of his own creation. There is no shame in imitation if it is part of the learning process!
Takeaway 3--King lists his wife/marriage and his physical health as his two keys for success. The message for aspiring authors should be to exercise regularly and marry someone who is both positive and supporting of your endeavors.
Takeaway 4--Read a lot and write a lot. The art of description is a learned skill that develops and improves with copious reading and voluminous writing. There is no substitute for time invested in this make-or-break skill set.
Takeaway 5--Keep your story chronological whenever possible. Flashback sequences sometimes work well in the movies or on television, but often come across as corny or cliche in novels..
Takeaway 7--Find a network of trustworthy individuals to read and give feedback on your first draft in its rawest form.
.......Affably written and educational, this well organized book is a delight to read. There were several revelations in this book, the most important one revealed as Mr.King recounted his near-fatal accident in 1999(he was hit by a drunk driver in a van while out for his afternoon walk). He professes that life isn't a support system for art --the reverse is actually true. Art is a support system for life. Mr King recounts vividly how the inseparable link between his writing and his life helped motivate him during the many months of his painful recuperation. My favorite quote of his is near the end of the book: "Writing isn't about making money, getting famous, getting dates, getting laid, or making friends. In the end, it's about enriching the lives of those who read your work, and enriching your own life, as well." I cannot recommend this inspirational and entertaining book highly enough to readers. Pubished in 2001? Seems like it was written yesterday!
After reading the book, I found a new level of respect for Stephen King. He tells it like it is. At the end of the day, writing is really about the story. Truth be told, I read Hemmingway and Steinbeck in school because I had to and I read King because I wanted to. So he must be doing something right. New writers have a lot to learn from King, and I'm thankful that he took time to share his insight.