This book is both a memoir and a writing guide. It details Stephen King's life, from his childhood and early writing endeavors to his struggles with addiction and his near-fatal accident in 1999. The book is divided into sections that cover King's life ('C.V.'), the nature of writing ('What Writing Is'), writing mechanics ('Toolbox'), his advice on the craft ('On Writing'), and his recovery from the accident ('On Living: A Postscript'). King offers practical tips on writing, including the importance of vocabulary, grammar, and style, as well as the need for consistent writing routines and ruthless editing. He emphasizes that good writing comes from within, driven by curiosity, wonder, and emotional honesty rather than commercial motives.
What I learned from reading Stephen King On Writing: A Memoir of the Craft by Stephen King.
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My earliest memory is of imagining I was someone else.
By the time I was fourteen the nail in wall would no longer support the weight of the rejection slips impaled upon it. I replaced the nail with a spike and went on writing.
I think I was forty before I realized that almost every writer 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), someone will try to make you feel lousy about it, that's all. I'm not editorializing, just trying to give you the facts as I see them.
There was also a work-ethic in the poem that I liked, something that suggested writing poems (or stories, or essays) had as much in common with sweeping the floor as with mythy moments of revelation.
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.
If I ever came close to despairing about my future as a writer, it was then. I could see myself thirty years on, wearing the same shabby tweed coats with patches on the elbows, potbelly rolling over my Gap khakis from too much beer. I'd have a cigarette cough from too many packs, thicker glasses, more dandruff, and in my desk drawer, six or seven unfinished manuscripts which I would take out and tinker with from time to time, usually when drunk. And of course. I'd lie to myself, telling myself there was still time, it wasn't too late.
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. Let me say it again: you must not come lightly to the blank page.
“When asked, "How do you write?" I invariably answer, "One word at a time," and the answer is invariably dismissed. But that is all it is. It sounds too simple to be true, but consider the Great Wall of China, if you will: one stone at a time, man. That's all. One stone at a time. But I've read you can see that motherfucker from space without a telescope.”
Talent renders the whole idea of rehearsal meaningless; when you find something at which you are talented, you do it (whatever it is) until your fingers bleed or your eyes are ready to fall out of your head. The sort of strenuous reading and writing program I advocate - four to six hours a day, every day – will not seem strenuous if you really enjoy doing these things and have an aptitude for them.
You learn best by reading a lot and writing a lot, and the most valuable lessons of all are the ones you teach yourself. These lessons almost always occur with the study door closed.
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Founders Notes gives you the ability to tap into the collective knowledge of history's greatest entrepreneurs on demand. Use it to supplement the decisions you make in your work. Get access to Founders Notes here.
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