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A Memoir Of The Craft
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About The Book
ONE OF TIME MAGAZINE’S TOP 100 NONFICTION BOOKS OF ALL TIME
Immensely helpful and illuminating to any aspiring writer, this special edition of Stephen King’s critically lauded, million-copy bestseller shares the experiences, habits, and convictions that have shaped him and his work.
“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.
The twentieth-anniversary audio edition includes Owen King reading his essay, “Recording Audiobooks for My Dad, Stephen King,” and a recorded conversation with Joe Hill and Stephen King.
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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.
About The Readers
Stephen King is the author of more than sixty books, all of them worldwide bestsellers. His recent work includes Holly, Fairy Tale, Billy Summers, If It Bleeds, The Institute, Elevation, The Outsider, Sleeping Beauties (cowritten with his son Owen King), and the Bill Hodges trilogy: End of Watch, Finders Keepers, and Mr. Mercedes (an Edgar Award winner for Best Novel and a television series streaming on Peacock). His novel 11/22/63 was named a top ten book of 2011 by The New York Times Book Review and won the Los Angeles Times Book Prize for Mystery/Thriller. His epic works The Dark Tower, It, Pet Sematary, Doctor Sleep, and Firestarter are the basis for major motion pictures, with It now the highest-grossing horror film of all time. He is the recipient of the 2020 Audio Publishers Association Lifetime Achievement Award, the 2018 PEN America Literary Service Award, the 2014 National Medal of Arts, and the 2003 National Book Foundation Medal for Distinguished Contribution to American Letters. He lives in Bangor, Maine, with his wife, novelist Tabitha King.
Joe Hill is the author of the New York Times bestsellers Heart-Shaped Box and Horns and writes an ongoing comic book series, Locke & Key. He makes lots of noise on Twitter under the handle @joe_hill.
Owen King is the author of The Curator, Double Feature, and We’re All in This Together: A Novella and Stories. He is the coauthor of Sleeping Beauties and Intro to Alien Invasion and the coeditor of Who Can Save Us Now? Brand-New Superheroes and Their Amazing (Short) Stories. He lives in upstate New York with his family.
- Publisher: Simon & Schuster Audio (October 1, 2000)
- Runtime: 9 hours and 6 minutes
- ISBN13: 9780743563376
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Raves and Reviews
"Twenty years after this audiobook came out, it remains as fresh as it was in 2000—a combination of memoir, observations on literature and authorship, craft tips for writers, and an emotional concluding segment on the 1999 near-fatal accident that put King's career on hold. King presents his work in a conversational storytelling voice with excellent timing. This new edition sports two bonuses, both of interest to audiobook listeners. There's a New Yorker essay written and read by Stephen's son Owen, explaining how his father paid him to record books on cassette tapes back when most audiobooks were abridged. Also included is an hour-long conversation on writing between Stephen King and his son Joe Hill, which features father and son reading from each other's works."
– AudioFile Magazine
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- Book Cover Image (jpg): On Writing Unabridged Audio Download 9780743563376
- Author Photo (jpg): Stephen King © Shane Leonard(0.1 MB)
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