“Long live the King” hailed Entertainment Weekly upon publication of Stephen King’s On Writing. Part memoir, part master class by one of the bestselling authors of all time, 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.
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|Edition description:||10th Anniversary Edition|
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About the Author
Date of Birth:September 21, 1947
Place of Birth:Portland, Maine
Education:B.S., University of Maine at Orono, 1970
Read an Excerpt
And Furthermore, Part I: Door Shut, Door Open
Earlier in this book, when writing about my brief career as a sports reporter for the Lisbon Weekly Enterprise(I was, in fact, the entire sports department; a small-town Howard Cosell), I offered an example of how the editing process works. That example was necessarily brief, and dealt with nonfiction. The passage that follows is fiction. It is completely raw, the sort of thing I feel free to do with the door shut -- it's the story undressed, standing up in nothing but its socks and undershorts. I suggest that you look at it closely before going on to the edited version.
The Hotel Story
Mike Enslin was still in the revolving door when he saw Ostermeyer, the manager of the Hotel Dolphin, sitting in one of the overstuffed lobby chairs. Mike's heart sank a little. Maybe should have brought the damned lawyer along again, after all, he thought. Well, too late now. And even if Ostermeyer had decided to throw up another roadblock or two between Mike and room 1408, that wasn't all bad; it would simply add to the story when he finally told it.
Ostermeyer saw him, got up, and was crossing the room with one pudgy hand held out as Mike left the revolving door. The Dolphin was on Sixty-first Street, around the corner from Fifth Avenue; small but smart. A man and woman dressed in evening clothes passed Mike as he reached out and took Ostermeyer's hand, switching his small overnight case to his left hand in order to do it. The woman was blonde, dressed in black, of course, and the light, flowery smell of her perfume seemed to summarize New York. On the mezzanine level, someone was playing "Night and Day" in the bar, as if to underline the summary.
"Mr. Enslin. Good evening."
"Mr. Ostermeyer. Is there a problem?"
Ostermeyer looked pained. For a moment he glanced around the small, smart lobby, as if for help. At the concierge's stand, a man was discussing theater tickets with his wife while the concierge himself watched them with a small, patient smile. At the front desk, a man with the rumpled look one only got after long hours in Business Class was discussing his reservation with a woman in a smart black suit that could itself have doubled for evening wear. It was business as usual at the Hotel Dolphin. There was help for everyone except poor Mr. Ostermeyer, who had fallen into the writer's clutches.
"Mr. Ostermeyer?" Mike repeated, feeling a little sorry for the man.
"No," Ostermeyer said at last. "No problem. But, Mr. Enslin...could I speak to you for a moment in my office?"
So, Mike thought. He wants to try one more time.
Under other circumstances he might have been impatient. Now he was not. It would help the section on room 1408, offer the proper ominous tone the readers of his books seemed to crave -- it was to be One Final Warning -- but that wasn't all. Mike Enslin hadn't been sure until now, in spite of all the backing and filling; now he was. Ostermeyer wasn't playing a part. Ostermeyer was really afraid of room 1408, and what might happen to Mike there tonight.
"Of course, Mr. Ostermeyer. Should I leave my bag at the desk, or bring it?"
"Oh, we'll bring it along, shall we?" Ostermeyer, the good host, reached for it. Yes, he still held out some hope of persuading Mike not to stay in the room. Otherwise, he would have directed Mike to the desk...or taken it there himself. "Allow me."
"I'm fine with it," Mike said. "Nothing but a change of clothes and a toothbrush."
"Are you sure?"
"Yes," Mike said, holding his eyes. "I'm afraid I am."
For a moment Mike thought Ostermeyer was going to give up. He sighed, a little round man in a dark cutaway coat and a neatly knotted tie, and then he squared his shoulders again. "Very good, Mr. Enslin. Follow me."
The hotel manager had seemed tentative in the lobby, depressed, almost beaten. In his oak-paneled office, with the pictures of the hotel on the walls (the Dolphin had opened in October of 1910 -- Mike might publish without the benefit of reviews in the journals or the big-city papers, but he did his research), Ostermeyer seemed to gain assurance again. There was a Persian carpet on the floor. Two standing lamps cast a mild yellow light. A desk-lamp with a green lozenge-shaped shade stood on the desk, next to a humidor. And next to the humidor were Mike Enslin's last three books. Paperback editions, of course; there had been no hardbacks. Yet he did quite well. Mine host has been doing a little research of his own, Mike thought.
Mike sat down in one of the chairs in front of the desk. He expected Ostermeyer to sit behind the desk, where he could draw authority from it, but Ostermeyer surprised him. He sat in the other chair on what he probably thought of as the employees' side of the desk, crossed his legs, then leaned forward over his tidy little belly to touch the humidor.
"Cigar, Mr. Enslin? They're not Cuban, but they're quite good."
"No, thank you. I don't smoke."
Ostermeyer's eyes shifted to the cigarette behind Mike's right ear -- parked there on a jaunty jut the way an oldtime wisecracking New York reporter might have parked his next smoke just below his fedora with the press tag stuck in the band. The cigarette had become so much a part of him that for a moment Mike honestly didn't know what Ostermeyer was looking at. Then he remembered, laughed, took it down, looked at it himself, then looked back at Ostermeyer.
"Haven't had a cigarette in nine years," he said. "I had an older brother who died of lung cancer. I quit shortly after he died. The cigarette behind the ear..." He shrugged. "Part affectation, part superstition, I guess. Kind of like the ones you sometimes see on people's desks or walls, mounted in a little box with a sign saying break glass in case of emergency. I sometimes tell people I'll light up in case of nuclear war. Is 1408 a smoking room, Mr. Ostermeyer? Just in case nuclear war breaks out?"
"As a matter of fact, it is."
"Well," Mike said heartily, "that's one less worry in the watches of the night."
Mr. Ostermeyer sighed again, unamused, but this one didn't have the disconsolate quality of his lobby-sigh. Yes, it was the room, Mike reckoned. His room. Even this afternoon, when Mike had come accompanied by Robertson, the lawyer, Ostermeyer had seemed less flustered once they were in here. At the time Mike had thought it was partly because they were no longer drawing stares from the passing public, partly because Ostermeyer had given up. Now he knew better. It was the room. And why not? It was a room with good pictures on the walls, a good rug on the floor, and good cigars -- although not Cuban -- in the humidor. A lot of managers had no doubt conducted a lot of business in here since October of 1910; in its own way it was as New York as the blonde woman in her black off-the-shoulder dress, her smell of perfume and her unarticulated promise of sleek sex in the small hours of the morning -- New York sex. Mike himself was from Omaha, although he hadn't been back there in a lot of years.
"You still don't think I can talk you out of this idea of yours, do you?" Ostermeyer asked.
"I know you can't," Mike said, replacing the cigarette behind his ear.
What follows is revised copy of this same opening passage -- it's the story putting on its clothes, combing its hair, maybe adding just a small dash of cologne. Once these changes are incorporated into my document, I'm ready to open the door and face the world.
Copyright © 2000 by Stephen King
Reading Group Guide
A Reading Group Guide for On Writing: A Memoir of the Craft by Stephen King
Points of Discussion
- Do you agree with Stephen King that the desire to write always starts with a love of reading?
- What role did Stephen King's childhood play in his evolution as a writer? Did your childhood experiences influence your desire to write?
- King was encouraged from a young age by his mother, who told him one of his boyhood stories was "good enough to be in a book." Was there someone in your life who encouraged your earliest efforts?
- At what age do you remember thinking you wanted to write? What do you remember writing when you were young?
- King's wife Tabitha is his "Ideal Reader," the one-person audience he has in mind when writing a first draft. When you write, do you envision a particular Ideal Reader? Who is that person and why?
- While King delights in the nuts-and-bolts mechanics of the writing process, he concedes that good writing involves magic as well. Do you agree with King's assertion 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?" To what degree can a writer be made? To what extent can writing be taught? What writerly skills do you come by naturally, and which have you had to work to acquire or improve?
- Discuss King's "toolbox" analogy. What "tools" do you find most indispensable when you write? Are there any you would add to King's toolbox?
- King believes that stories are "found things, like fossils in the ground." Discuss King's extended metaphor of "writing as excavation." Do you agree with this theory?
- According to King, good story ideas "seem to come quite literally from nowhere, sailing at you right out of the empty sky," and often don't ignite until they collide with another idea that also comes unbidden. Do you find that ideas for stories or writing projects come to you out of the blue, or do you have to search for them? What serves as the basis for most of your stories? A situation? A character? A moral dilemma? King recalls a dream that led him to the writing of his book Misery. Have you ever gotten a story idea from a dream? Discuss how you discovered your best ideas and how they evolved into finished stories.
- King describes the dangers of seeking reader response or "opening the door" too early or too frequently. At what stage in a writing project do you solicit critical feedback from others? When you do "open the door," who are the first readers you ask for advice? Why do you trust those readers and what are you looking to hear from them?
- King doesn't read in order to "study the craft" but believes that there is "a learning process going on" when he reads. Do you read books differently as a writer? Are you conscious of "the craft" as you read?
- In the first foreword to On Writing, King talks about the fact that no one ever asks popular writers about the language. Yet he cares passionately about language and about the art and craft of telling stories on paper. Do you think there is a false distinction between writers who write extraordinary sentences and writers who tell stories?
- Often, King says, "bad books have more to teach than the good ones." He believes that most writers remember the first book they put down thinking "I can do better than this." Can you remember a book that gave you that feeling? Why?
- King's self-imposed "production schedule" is 2,000 words a day and he suggests that all writers set a daily writing goal. What kind of discipline, if any, do you impose upon your own writing efforts? Do you always write at the same time of day? If so, when and why? Do you try to maintain a steady pace? Does adherence to a strict routine help your writing efforts?
- King tells a story about getting his fantasy desk, a massive oak slab that he placed in the middle of his spacious study. For six years, he sat "behind that desk either drunk or wrecked out of [his] mind." After sobering up, he replaced the desk with a smaller one that he put in a corner. "Life isn't a support system for art," he figured out. "It's the other way around." Discuss King's "revelation" and the symbolism of the placement of the desk.