On Writing
by Stephen King
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Book Reviews of On Writing
Book Review: A Review of On Writing
Summary: 4 Stars
Stephen King's On Writing is an all inclusive book about writing. The book guides the readerthrough the beginning steps of writing to finding a publisher for the finished work. The book
starts off with accounts of King's childhood, which reveal why he wanted to become a writer in
the first place. These stories are at times humorous, tragic, and disturbing. Readers who want
only to know how to write can skip over these stories without missing much. The stories are only
for the readers who are curious about the tribulations King went through to become a writer and
why he writes horror novels. The rest of the book contains details of King's life, but not as much
as the first and the last sections, which are devoted solely to that subject.
The body of the text details various writing techniques and some of King's personal pet peeves
when it comes to writing. The advice given is not in the usual textbook form, so it is easy to
follow, it is almost as if King sat down next to the reader and started an impromptu discussion
about writing. King uses a variety of similes and references to get his points across in a way that
is both amusing and comprehensible to the reader. Excerpts from novels and other books on
writing provide examples of different writing elements. King usually gives two examples of each
element, one well written and the other poorly written, so the reader knows what to do and what
not to do in their own writing. King's points are reinforced by quotes from people who have
influenced him, and anecdotes about other authors.
The writing advice itself, is mostly concerned with writing fiction, but many of the techniques
and grammatical information can also be used in other forms of writing. The passages
concerning grammar are the general rules taught in a standard high school English class; they are
only helpful to beginning writers with little or no experience. The most detailed and useful
passages are the ones about voice, style, character development and other creative elements. An
interesting part of the book is a passage from one of King's short stories which shows exactly
how he edits his writing. King gives clear concrete reasons for each correction. The corrections
made range from simple grammatical errors to complex character inconsistencies. The amount
of editing in this passage is somewhat inspiring because it shows that even seasoned writers so
not turn out perfect writing in their first drafts.
The pacing of the book makes it a relatively quick read. That does not mean the reader can turn
their brains off while reading it, the book does require some reader participation. Some of the
interaction works, like when King tries to get the involved by having them imagine scenarios or
visualize objects. These kinds of activities enhance the reading experience and the reader hardly
notices that they are being prompted to think. Some of the activities do not work though. King
suggests one writing exercise in his book, but at five to six pages long, the activity is only for
those who are really serious about improving their fiction writing. The last bit of interaction is a
book list included in the last three pages, which mentions a number of books King has enjoyed
reading in the past. The list encompasses many different genres and could come in handy if the
reader ever gets bored and is looking for a good book to read.
The final section "On Living" serves as a excellent closing piece to the book, this section
explains why King has continued to write over the years. The most inspirational moments of On
Writing come through in this section, where King expresses the love he has for writing and how
writing helped him come to terms with certain events in his life. The book works as a learning
tool and a great reading book, because King is straightforward and does not use much writing
jargon. There is some redundancy in the text, but King usually moves on to another subject after
he feels he has reiterated himself enough to get his point across. The good aspects of this book
certainly outnumber the negative aspects. This book may not be an appropriate choice for
readers who are not familiar with, or are not fans of King's novels. However, for those readers
who are looking for a book on writing, and can handle some colorful language and brutal
honesty, then this book serves its purpose.
Book Review: Dark Side of the Womb
Summary: 4 Stars
To the casual reader, it would appear as if Stephen King had produced the lazy, indulgent book about his experiences as a writer that one would eventually expect from an author of his celebrity. However, the more alert purveyor of ON WRITING will realize that Mr. King is, not very arguably, the most celebrated and commercially successful author of the last 30 years, one who certainly knows the value of backstory, foreshadowing, characterization and plot, and that, if he's giving way to indulgences, there's an ulterior motive that eventually pays in practical dividends.
This book starts off with King's earliest memories, which begin when his and his brother Dave's father had just abandoned the family and his mother had to struggle through one move and menial job after another to support her two troublesome boys. Reading of King's misfortunes with cribbing a Poe story and passing it off as his own (the fact that Poe's work was obviously already in the public domain notwithstanding and irrelevant), writing for a homemade newspaper masterminded by his restless brother Dave and creating a satirical version of the high school paper makes one marvel at how writers of all levels of success have common experiences. While in junior high, I had excoriated the student body and faculty alike with a multi-page document that almost gotten me mauled by a frighteningly large gym teacher who was one of the subjects of my alleged wit but who was not frightening enough to quench my instinct for satire (King assures us that he was cured of the Petronius Arbiter Bug). Anyone who's ever wanted to hack into their job's mainframe and sabotage the company's online newsletter will understand exactly where King is coming from. When admitting that people tell every creative being, including himself, that they're wasting their talent, King is immediately sharing a bond among the community of not just writers but all artists in general. On the flip side, King is also careful to tell us of the pearls of practical and seminal wisdom that he had likewise learned from his elders, including his supportive, if sometimes bewildered, mother.
The book continues with Uncle Fazza's handmade toolbox, which King uses as a metaphor or synecdoche for the tools of the writer. King advises, as did his uncle who'd dragged the heavy wooden toolbox outside only to use a screwdriver to fix a screen, that it's a good habit to get into because you never know when you'll need other tools. His other advice, such as attacking the white page aggressively and with feeling, even desperation, is not as innovative as the reader would hope but there are countless other nuggets of wisdom for which workshop students would pay hundreds of dollars with perhaps half the wisdom. King even gives the reader and aspiring writer an intriguing writing exercise and invites them to tell him the results on www.stephenking.com. In this section, King also gives us an indication of how he can turn a mildly interesting headline into an interesting storyline into then a great storyline with a simple twist of perception or a reversal of the facts.
At the end of the book, King lets us look over his shoulder while he's in his "closed door", or first draft, phase. First, he presents a rough draft of a short story followed by a holograph of the revised copy, handwritten interlineations and all, giving us a keyhole glimpse into the workings of his creative mind, something for which most other authors have too much hubris. King, however, gives the reader the impression that his self-deprecation and lack of artistic seriousness and high mindedness is sincere and he lets us see him first thing in the morning, unshaven, hair mussed, still wearing his droopy socks and wrinkled underwear.
ON WRITING is not to be mistaken for an autobiography or as a textbook on the craft of writing. It is both and neither. King did a masterful job in inextricably entwining and perfectly balancing the relationship between life and writing that makes this book, in some ways moreso than his earlier DANSE MACABRE, an invaluable document for both the novice and seasoned pro alike. It is a short, inspiring and humorous literary autobiography that generously allows us to see what the NEW YORK TIMES BOOK REVIEW and King's publicity agent does not, the failings, foulups, and foibles of who is perhaps the most lionized author of modern times.
Book Review: A good intro to King the writer
Summary: 4 Stars
Who amongst us lovers of literature has not wanted to be a writer? I did. In college, I was an editor of a campus magazine, Spectator. It was a magazine that covered sports and cultural events around the campus and had some features like crossword puzzles, etc. It was a free magazine with no ads or sources of funding and so we, the three editors, wrote all the articles (with someone telling us what actually happened at events) and the features. At about this time, I was reading a lot of poetry. During preparation of the second issue of our magazine, I read Vikram Seth's "The Golden Gate", a story about love, California Style, told in sonnets set in iambic pentameter. This inspired us to write an issue in sonnets. It makes no sense now, but then it did. It made sense for Mr. Seth to set his book, which was about love, to sonnets. It made no sense for a magazine talking about one team beating another in 3-a-side to do so. Anyway, we wrote all the sonnets. Big mistake. We rhymed over with rover, inspire with perspire and verse with terse. Need I say more? One of the other campus magazines, Focus, wrote "Spectator goes from worse to verse to worst".That incident cured me of my dreams of being a poet. But if I were to look deep within me in some dark spot, I guess I still want to be, if not a poet, at least a writer. If you feel the same, then Stephen King's On Writing is meant for you. It is a `how-to' book on writing. Though well written, the book seems like a long answer to a question that I am sure Mr. King is asked often at book readings: "How do you write?" One finds it difficult to believe that it will inspire anyone to write.
In this book, Mr. King talks of an incident where he wrote a horror story while in school. His teacher found it and told him that he should be ashamed of writing such a story. Though I had never read his books and my only introduction to him was through movies based on his books, I would have agreed with that teacher. Having read this book, however, I have to say, I was wrong. He is a good writer.
Despite what Mr. King sets out to do (to write an advice book on writing) this book is not on writing, it is about Mr. King as a writer - his formative experiences, his toolbox of writing, and his techniques of writing. It is in the initial section of the book, which he titles "C. V.", that he is at his best. He describes his childhood, school days and his days as a struggling author juggling jobs and writing, leading to his first success with Carrie. He does not so much give us a memoir, as limn a montage. He goes through his early life as if describing a montage of photographs. One can almost see him looking over one's shoulder describing each picture, at the same time letting one draw their own inferences about the whole montage itself. The vignettes that make this montage are at times funny, at times touching, but always interesting. It is very rare that one gets such keen insight into what makes a writer.
Then, he moves to talking about the toolbox of writing and how to develop it. One piece of advice that he keeps repeating is "Read a lot, write a lot." I am not sure how valuable that advice is. Joseph Conrad, for one, never wrote anything substantial till he one day decided to write, in his mid to late thirties and in his second language (English), "Almayer's Folly". I guess such exceptions prove the basic rule.
Later, he moves on to the writing of books and novels. His insights into dialog, narratives and descriptions are interesting. I am not in a position to judge if they will be useful to anyone. I suppose any class or seminar in creative writing will give one the same kind of advice.
Mr. King wrote most of this book in '98. Then in early '99, he was hit by a van that nearly killed him. In the final section of the book, he describes his ordeal and how his work, his profound need to write, helped his recovery. I think this section gives us as readers the best insight as to what makes a writer even more than the first. This need to write despite one's physical state is what separates those of us who want to write and those who need to, and therefore do.
If you want a manual on how to write well, I guess one could always read Strunk & White (which, one must add, Mr. King holds in high regard). But if you want a glimpse into the psyche of a writer, then this book is for you.
Book Review: Great biography, great advice, great fun
Summary: 4 Stars
If Stephen king was to apply his own rules on writing, then half of this book would not be printed. It would have been cut in the review process. Good job it wasn't.
King maybe talking `On writing' but this book is as much a biography and great fun for it. It is written like a novel and so much the bettered for it but a good index would be useful.
On Writing was written either side of a horrific injury to King. It should be read in that light. Kings writing is clear, crisp and moves. However the story meanders. Not being a horror fan, I don't know if this is unusual for King.
Section 1, Kings calls CV. It's more than that. Here King reveals what made him a writer. His childhood experiences are common many fiction writers. Fiction writers are people who dream whole worlds in their heads: Friends and foes, lovers and demons. People who needed to do that in their childhoods. Kings family moved from pillar to post, denying King the opportunity to make life long childhood friends. King had a brother, but one too much older to be a friend. People who had lonely periods in their childhoods, dreamy up substitutes. Many became great writers, like King.
Why a horror writer? If you had baby sitters who stuffed you full of sickly food then locked you in a dark wardrobe to vomit all over your mothers favorite shoes, falling asleep in fear, or a brother who used you as the test pilot for every crazy dangerous scheme he had, what would you write about? King's account of his childhood is hilarious. If he didn't write horror he would make a good humorist.
King went on to learn his craft in short story telling. An excellent apprenticeship. And he made money from despite critic's condemnation. That taught him who really counts in writing. He also taught. The best way to learn anything is to teach it.
Finally King shows that the key to success is believing in yourself or having someone close who does. For King it was his wife, who rescued his career from the bin into which he chucked it in desperation. A wife who has kept her belief ever since and is his first reader.
Section 2, King calls `On writing'. Lots of useful advice here. Some told by other authors on writing, some new. To hear it from a great writer is all the better.
I part with King when he says plot has no part in creative writing. It has. But probably a lesser role in horror fiction, where the shocks need to be more spontaneous. It seems clear to me that King does plot. He just doesn't dwell on it. Kings advice may be good for the genre in which he excels. Horror. Read it carefully and there is something for every writer.
I also part company with King when he argues that writers are born not learnt. That is nonsense. We can all learn if we work at it as hard as King has. If we are in the right place at the right time with the right story then every writer can be as successful as King. That is the luck of the draw. King admits it himself and his life shows that writers learn.
Kings greatest advice is edit, edit and edit. He bangs on about it. Rightly so.
Section 3, King calls `On Living'. Some critics complain that King goes on and on about the accident that nearly killed him. Walking up the road King was hit by a stupid van driver. Motorists get away far too easily. So I am pleased that King does go on about it. It's a revealing account of what it's like to be such a victim. Even here, the menace of King's writing rises from the ashes. He explains that at the end of writing the driver had died. For some inexplicable reason! Good for King.
A great book. A real laugh. A fascinating biography by one of today's greatest writers. Some great advice, showing that the best way to teach, is to entertain.
For Horror fans, 'On Writing' may sadly be the beginning of the end of King's horror stories. He has stepped out of the shadows, breaking the spell. King is a damn good writer and he shows in 'On Writing' that he is capable of writing in other genres. The name King is now the brand for excellence on horror, so he will probably have to change his name to change his genre.
just Jack
Book Review: Taking the Scare Out of Writing
Summary: 5 Stars
"Writing is not life, but I think that sometimes it can be a way back to life."
This quote, from Stephen King's second and best work of nonfiction, On Writing: A Memoir of the Craft (Scribner, 288 pages, $25.00), sums up the "it's-not-brain-surgery" philosophy that permeates this highly-readable primer on the craft of fiction. King's first nonfiction book was Danse Macabre, a look at the horror genre in all its forms. On Writing careens away from the horror corner that King has painted himself into with novels such as Carrie and The Shining. This book is not about how to scare your readers, but how to take them by the hand and lead them down the path of the well-crafted story.
King has every right to write about life and how writing can take one back to it: In 1999 -- in the middle of writing this book -- he was nearly killed when a careless motorist slammed into him as he walked along the side of a road near his rural Maine home. After suffering multiple injuries, King had to learn how to walk again, and credits his wife and his surgeon with saving his life.
Perhaps more important than merely surviving, King found his way back to the joys of life. He credits this successful homeward journey to his writing. King confesses that his primary joy is writing fiction, while nonfiction comes more slowly: he nearly abandoned this memoir-slash-instruction manual in the middle of the project. It is a fortunate thing - both for King's fans and writers everywhere - that he finally finished On Writing.
King once characterized his brand of everyman-confronts-the-supernatural fiction as "the literary equivalent of a Big Mac and fries," but he was selling himself short. The reason why King's readers keep coming back to his thousand-page-plus novels is twofold: King has an innate sense of story, and he writes from the heart. Character-driven novels such as Misery and Rose Madder (although he confesses that he didn't care much for the latter) reveal as many secrets about the human experience as anything you will find on a university-level English professor's required reading list.
In On Writing, King reveals two things: the details of his life (King's "Curriculum Vitae," which he says have shaped the writer he has become) and the methods of his craft. King developed a love of the horror genre early in his life, thanks to monster movies starring such luminaries as Bela Lugosi and Boris Karloff. King is unapologetic about his attraction to things that go bump in the night: "I was built with a love of the night and the unquiet coffin, that's all. If you disapprove, I can only shrug my shoulders. It's what I have."
King likens a writer's skills - essentials like grammar and vocabulary - to the contents of a toolbox. By way of an analogy, he recalls as a boy accompanying his uncle to fix a broken screen. King's uncle brought a giant of a toolbox with him to do the job. King asked why his uncle would lug such a heavy toolbox to complete a simple screen-mending: "It's best to have your tools with you," King's uncle replied. "If you don't, you're apt to find something you didn't expect and get discouraged."
Two tools that King does not carry in his box are detailed outlines or carefully crafted plots. King argues that his best fiction has been driven by character and situation, his worst by plot: "Plot is, I think, the good writer's last resort and the dullard's first choice. The story which results from it is apt to feel artificial and labored." King challenges his skeptics with an exercise involving two characters and an appropriately Kingian situation. To tell what this situation is would give away too much of the fun of this book.
On Writing is a breath of fresh air in a sea of pretentious writing manuals that have flooded bookstores lately. This book proves what King's readers have known for years: the man is about much more than horror. On Writing not only helped me hone my craft, but caused me to reflect upon my own Curriculum Vitae: the life experiences that made me the writer I am, and the reasons why I wouldn't have it any other way.