The first Foreword of the book on craft written by King is described, where he expresses his motivation for writing it. He mentions that people never inquire about the language used by popular novelists like himself. In the second Foreword, King justifies the brevity of the book, explaining that the shorter it is, the less irrelevant content it contains. The third Foreword emphasizes the significance of having a competent editor.
To introduce this first part of the book, King describes it as his "curriculum vitae," an attempt to illustrate the process of his development as a writer.
King's earliest memory is from when he was around 2 or 3 years old, acting as the "Ringling Brothers Circus Strongboy." He used to carry a cement cinder block across the garage floor, and unfortunately, it had a wasp nest inside. As a result, one of the wasps stung King's ear. In the process of dealing with the pain, he dropped the block on his foot, causing damage to all five toes.
Around a year later, King, along with his mother Nellie and brother David, moves to West De Pere, Wisconsin, to be closer to his aunt. He recalls a series of babysitters, with one named Eula or Beulah standing out due to her dangerous sense of humor. Eula-Beulah would playfully hug and tickle King, making him laugh. However, in a surprising turn, she would suddenly strike him on the head hard enough to knock him down, all while both of them were still laughing. On one occasion, King repeatedly asked for fried eggs, and Eula-Beulah ended up cooking him
a total of seven. This excessive consumption made him throw up, resulting in Eula-Beulah locking him in a closet. Unfortunately, King vomits again, this time on his mother's shoes, leading to Eula-Beulah getting fired.
Their time in De Pere proves to be short-lived and unsuccessful, resulting in the family being evicted from their apartment. This eviction occurs after a neighbor reports David crawling on the roof. As of now, David is residing in New Hampshire and is 55 years old.
At the age of 5 or 6, King's mother narrates a haunting story to him about a girl who drowned in Prout's Neck, New Hampshire. Nellie, who was 14 years old at the time, recountshearing the girl's screams as she ventured beyond the dangerous rip current. Unfortunately, no one was able to rescue her, and her lifeless body washed up on the beach. Nellie also tells King about witnessing a sailor's suicide by jumping from a hotel roof, resulting in his body splattering on the street.
King reveals that during the majority of the nine months he was supposed to spend in the first grade, he was confined to bed. This was due to him falling ill with measles, which later developed into strep throat. Nellie takes him to an ear specialist, who performs a procedure to drain the pus from King's eardrum by lancing it with a needle. Despite the doctor's assurance that it wouldn't hurt, King emphasizes that the pain was the most intense he had ever experienced. Unfortunately, he had to undergo the same procedure two more times, requiring additional visits to the doctor.
Around one or two months after the visit to the ear specialist, King
finds himself at the throat doctor's office. The nurse performs a throat swab, and compared to the long needle used by the ear doctor, this procedure feels much easier for King, as he describes it as a "walk in the park." It is determined that King's tonsils need to be removed, and he vividly remembers being wheeled into the operating room, surrounded by the bright lights. Although he is promised an unlimited amount of ice cream after the operation, King surprisingly has no appetite for it.
Following his medical procedures, King's schooling is interrupted entirely for the remainder of first grade. He will have to restart the academic year in the coming fall. With no school to attend, King spends most of his time either in bed or confined to his house. However, he engages in extensive reading, consuming approximately six tons of comic books. In an effort to express his creativity, he starts creating hybrid texts by copying the content of Combat Casey comics onto a Blue Horse tablet and adding his own descriptions to them. When King shares these creations with his mother, she encourages him to write his own original material.
Nellie's suggestion to write his own stories fills King with a profound sense of possibility. Motivated by this encouragement, he proceeds to write a four-page story about magicalanimals led by a character named Mr. Rabbit Trick. Nellie reads the story and provides positive feedback, further fueling King's enthusiasm. Encouraged by his mother's support, King writes four more stories. As a reward for his efforts, Nellie pays him a quarter for each story and sends them to her four sisters to read.
During King's second-grade year, his family relocates to Stratford, Connecticut. It is there that he becomes infatuated with a teenage girl who lives next door, describing himself as being "stone in love" with her. Their apartment is situated near an area known as "the jungle," which is
a forested region with a junkyard on one side and train tracks running through it. King spends time in the jungle with his friend Dave.
On one occasion, while they are in the jungle, King finds himself needing to use the bathroom. Dave suggests that he do his business in the woods instead of walking back home. Following Dave's advice, King proceeds to carefully wipe himself with a handful of shiny green leaves, which unknowingly turn out to be poison ivy. As a result, King ends up covered in a rash and has to endure lukewarm starch baths for the next six weeks.
Dave and King embark on a science project that Dave considers to be potentially lethal. Dave's idea involves creating a "Super Duper Electromagnet" capable of lifting massive pieces of metal such as cars or train compartments. Utilizing a metal spike, magnet, copper, and the power from a wall socket, Dave successfully constructs the electromagnet.
With the device complete, Dave sets up a lamp and asks King to plug it in. When King does so, a power outage occurs not only in their apartment building but also in the neighboring building.
King reflects on his first experience with having a television at home, which did not happen until he was 11 years old. He recalls numerous shows and movies that captivated him during that time, including titles like Robot Monster, Highway Patrol, and One Step Beyond. King describes this newfound access to television as a gateway to a whole world of vicarious adventure that came packaged in black and white.
In the late 1950s, a magazine called Famous Monsters of Filmland edited by Forrest J. Ackerman had a profound impact on King and countless other kids. In1960, Ackerman launches a short-lived but interesting magazine titled Spacemen. King submits a story to
Spacemen, which ends up being rejected. However, Ackerman keeps the story and, twenty years later, brings it to one of King's book signings, requesting his autograph.
King achieves his first publication when his story is featured in Mike Garrett's horror fanzine. Originally titled "I was a Teen-Age Grave-robber," the story undergoes a change in title by Garrett, who renames it "In a Half-World of Terror."
In the early 1960s, the King family returns to Durham, Maine, so that Nellie can care for her aging parents. Nellie's sisters assign her this responsibility, and in return, they send her cash and boxes of clothes each month, which barely cover the family's expenses. After her parents pass away, Nellie remains in Maine and secures another job in the same town. She only leaves the town when she succumbs to cancer, spending her final weeks living with David.
Soon after their move to Durham, King comes up with his first original story idea.
While in Durham, King experiences a moment when his first original story idea comes to him. It happens when Nellie complains about not having enough Green Stamps to buy a lamp. King envisions the convenience of being able to counterfeit stamps, leading to the birth of a story called "Happy Stamps." In the story, an ex-convict named Roger begins counterfeiting stamps but discovers that his counterfeit designs are so accurate that they are indistinguishable from genuine stamps. The characters in the story can purchase anything as long as they have enough "Happy Stamps," and Roger's mother desires to buy a house with millions of books of stamps. However, there is a catch - Roger's stamps have defective glue that turns blue when run through a mechanical licker. To fulfill his mother's dream, Roger must individually
lick all the stamps.
Excited about his story idea, King submits "Happy Stamps" to Alfred Hitchcock's Mystery Magazine, but unfortunately, he receives a rejection letter with a handwritten note cautioning him against stapling manuscripts.
King provides a detailed description of his room in Durham, highlighting specific elements such as the bed situated beneath low-hanging eaves. Notable objects in his room include stacks of comic books, an Old Royal typewriter, and a Webcore phonograph. When he receives a rejection letter from AlfredHitchcock's Mystery Magazine, he decides to nail it on the wall above the Webcore. As more rejection slips accumulate, the nail is eventually replaced with a spike. By the time King reaches the age of 16, some of his rejection slips start containing personalized notes. One rejection from Fantasy and Science Fiction magazine for his story "The Night of the Tiger" provides personal feedback and encourages him to submit again. In his twenties, King rewrites the story and resubmits it to F&SF, ultimately achieving acceptance.
Dave, King's friend, becomes bored with high school and takes it upon himself to create his own newspaper called Dave's Rag. This publication serves as a unique combination of a family newsletter and a small-town bi-weekly. Dave operates the Rag from the family basement, utilizing a hectograph for printing and a small darkroom for developing photos. However, the hectograph is time-consuming and prone to growing spores, prompting Dave to purchase a small drum printing press. This new equipment allows him to produce in two days what used to take a week, leading to the "golden age" of the Rag. By the time Dave turns 16, the newspaper has gained a readership of fifty to sixty people.
One film that captivates King is The Pit and the Pendulum, leading him to create a novelized version of the story. He prints copies of the novel on Dave's printing press and distributes them at school, selling all forty copies for a quarter each. However, the principal reprimands King for the content and forces him to refund all the money. During summer vacation, King repeats the process with a novelization of The Invasion of the Star-Creatures and successfully recoups his expenses.
During his sophomore year, King becomes the editor of his school paper, The Drum. However, he is not particularly invested in the role, and under his editorship, the paper doesnot prosper. One night, King decides to satirize The Drum by printing a fictional paper called The Village Vomit. He includes fictional information about the staff, assigning them recognizable nicknames. While most teachers don't mind, one teacher, Ms. Margitan, takes offense at being called the Maggot. As a result, King is required to issue a formal apology to her and receives two weeks of detention.
A guidance counselor advises King to take a job as a sports reporter at Lisbon's weekly newspaper. Mr. Gould, the editor, provides King with a roll of yellow typing paper and promises to pay him half a cent per word. King writes two pieces about a basketball game, and Gould edits them, imparting more knowledge in just ten minutes than King learned in any English or writing class.
In order to save money for college, King takes a job at Worumbo Mills and Weaving after his senior class trip. His daily routine involves attending school and then working an eight-hour shift at the mill. As summer arrives, he moves to the cooler basement dye house. While working there, a fellow employee shares a story about rats as big as cats and dogs in the basement. Inspired by this tale, King writes the short
story "Graveyard Shift" and sells it to Cavalier magazine for $200.
King enrolls at the University of Maine and secures a work-study job at the library during the summer of 1969. This period is described as a season characterized by both the ongoing Vietnam War and the flourishing counterculture music scene. It is during this time that King meets Tabitha Spruce, whom he later marries a year-and-a-half after their initial encounter. At the time of writing the memoir, King and Tabitha are still married.
King reflects on his marriage to Tabitha and identifies several similarities between them, such as their working-class backgrounds, shared dietary preferences, and political affiliation as Democrats with typical Yankee skepticism towards life outside New England. However, their strongest bond lies in their shared language and literary pursuits. King fell in love with Tabitha during a poetry workshop in the fall of 1969 because he understood the purpose and significance of her work. He includes one of Tabby's poems in the memoir, describing how it made him feel that he wasn't alone in his belief that good writingcan be simultaneously intoxicating and idea-driven. Their mutual understanding and appreciation for literature strengthen their connection.
Over the course of the first three years of their marriage, Tabitha gives birth to their children, Naomi and Joe. King recalls an incident when he was at a drive-in movie and received an announcement over the loudspeaker that Tabby had gone into labor with Joe. He rushes home, picks up Tabby, and takes her to the hospital, where she goes through a relatively quick three-hour labor. King fondly describes his children as "a treat."
After obtaining his teaching certificate from the College of Education at UMO, King struggles to find a teaching job and ends up working at the Franklin Laundry, earning only slightly more than he did at the mill. His responsibilities at the laundry mainly involve laundering sheets from motels, restaurants, and hospitals. He encounters tablecloths infested with maggots and hospital sheets stained with blood and infested with maggots. Occasionally, he discovers unexpected items, such as a set of teeth, within the hospital linens.
King reflects on the early years of his marriage and family life. Balancing the responsibilities of raising two children and working low-paying jobs(King at the laundry and Tabby at Dunkin' Donuts), they earn just enough to keep them above the poverty line. King describes their financial situation as creating a "rough sliding margin" between them and the welfare office. In one instance, after visiting Nellie, they return to their apartment to find Naomi suffering from an ear infection. Worried about the expensive cost of medication, they discover an envelope containing a $500 check for one of King's stories. This unexpected windfall allows them to afford Naomi's medication and enjoy a nice dinner.
In 1973, the family resides in a trailer in Hermon, while King teaches English in Hampden. During this time, King starts working on his novel Carrie. Despite his enjoyment of teaching, he struggles to find time and energy for writing outside of his work hours, feeling mentally drained. However, Tabby remains supportive of his writing endeavors.
During his late teenage years, King works as a janitor alongside a man named Harry at Brunswick High. While cleaning the girls' locker room, King takes notice of the surroundings and stores the imagery in his memory. Years later, while working at the laundry,he recalls this memory
and incorporates it into the opening scene of his novel Carrie. He combines the image of a girl experiencing her first period in an unclothed shower with girls throwing tampons at her. King also draws inspiration from an article about telekinesis. He initially writes a three-page short story version of Carrie but throws it away because he cannot emotionally connect with it and believes it would need to be longer to be successful. Tabby retrieves the discarded pages from the trash and expresses her interest in reading the rest of the story. Despite King's lack of knowledge about high school girls, Tabby offersto assist him.
King continues to work on his novel Carrie and feels that the pages have potential. To connect with the main character, he draws upon memories of girls he knew in high school. He specifically recalls two outcast girls. One is Sondra, whose mother hires King to help move furniture from their trailer. Inside the trailer, King sees a life-sized crucifix, and Sondra's mother asks if he has been saved. The other girl is Dodie, who wears the same clothes to school every day until they start unraveling. She attempts to reinvent herself by buying new clothes, but she continues to face teasing from classmates. Tragically, Sondra dies from a seizure, while Dodie takes her own life.
In the spring of 1973, King sells his novel Carrie to Doubleday and receives a $2500 advance. At the time, King is not represented by an agent and is unaware that this advance is relatively small, even for that year. The book is scheduled to be published in the spring of 1974. King and Tabby calculate that he might be able to earn $30,000 from Carrie, which they consider a significant amount of money.
With the advance money from Carrie's paperback rights, King purchases a new car, and the family moves to a new apartment in Bangor. He signs a teaching contract for the 1973-74 academic year and
begins working on his next novel, Second Coming. During this time, King and Dave express concern about their mother, Nellie, who is experiencing weight loss, smoking excessively, and taking prescription painkillers. On Mother's Day, King receives a phone call informing him that the paperback rights for Carrie have been sold for $400,000, which means he will receive $200,000.Tabby is not home at the time, so King buys her a hairdryer as a present and shares the news with her, resulting in an emotional moment between the couple.
At the age of 19, during his senior class trip to New York, King gets drunk for the first time. He and his friends purchase Old Log Cabin whiskey, and King becomes extremely intoxicated, feeling profoundly unwell the following morning. He spends the day in bed, gradually recovering. Despite this experience, King repeats his actions by getting drunk again during the trip to Washington, D.C. Ten years later, after completing The Shining, King celebrates by drinking at an Irish saloon with a friend.
In August 1973, Nellie is diagnosed with uterine cancer. She passes away in February 1974. During her final moments, early in the morning, Dave and King sit with her as they prepare for her imminent death. They hold a cigarette to her lips, and she smokes. Nellie briefly regains consciousness, refers to them as her boys, and then becomes unconscious again. They hold her hands until she eventually passes away.
Nellie's funeral takes place at the Congregational Church, and King delivers the eulogy. He reflects on his state at the time, noting that he was quite drunk during the speech.
King discusses his relationship with alcohol, acknowledging that he did not consider himself an alcoholic until he started recycling and realized the sheer number of beer cans he had consumed. This revelation prompts him to be more cautious, although he does not directly address the issue. During the last five years of his drinking, he pours out any unfinished beers every night to avoid the voices in his head that would urge him to have more. At the time of writing the memoir, he has been sober for twelve years.
In 1985, King also struggles with drug addiction, although he manages to function at a somewhat competent level. However, with the support of his wife Tabby, she stages an intervention involving their friends and family. Tabby gives King an ultimatum: seek help or leave the house. After bargaining for two weeks to consider his options, King ultimately chooses to get clean and overcome his addiction.
During the peak of his drinking, King consumes a case of sixteen-ounce tallboy beersevery night and reaches a state where he can't remember writing the novel Cujo. As he starts to get sober, he initially feels like he has been evicted from life. However, as time passes, he experiences improvements in his well-being. Throughout all of this, King never stops writing.
King reflects on his desks throughout the years. In 1981, he acquires a massive oak slab desk and spends much of his time behind it while being intoxicated or under the influence of drugs. After getting sobera year or two later, he replaces the desk with a living room set where he enjoys spending time with his children. Eventually, he acquires another desk, which is handmade, beautiful, and smaller in size compared to his previous desk. It is behind this desk that he sits to write the memoir.
King introduces the concept of telepathy in writing and describes his own "basement place," a metaphorical space where he sends and receives messages through reading and writing. He emphasizes that this telepathic connection can occur anywhere, not just in the physical basement place. Writing this memoir in 1997 for publication in 2000 creates a temporal gap between the writer and reader, but King believes that a "meeting of the minds" can still be achieved. He illustrates this with the example of a tablecloth, cage, and rabbit with a blue eight on its back, emphasizing that despite our different interpretations, we are all focusing on the common element of the blue eight. This act of sending and receiving thoughts creates a form of telepathy between the writer and reader. King concludes by emphasizing the importance of taking the act of writing seriously.
King begins discussing the tools that writers should possess, using an anecdote about helping his Uncle Oren fix a broken screen. His uncle brings a heavy handmade toolbox but ends up using only one screwdriver from it. When King asks why he brought the whole box, Uncle Oren responds, "It's best to have the tools with you." King compares this to writers needing their own toolbox filled with the necessary tools for their work. The toolbox should have multiple layers, with the top one containing the most common tools. One of these essential tools is vocabulary. King emphasizes that the size of one's vocabulary is not as important as how it is used. He provides examplesfrom writers with both extensive and simpler vocabularies, highlighting that the key is to use the appropriate and colorful words that come to mind. The goal is to convey meaning effectively, regardless of the complexity of the language used.
King discusses the importance of grammar, which should also be included in the top shelf of a writer's toolbox. He acknowledges that
mastering grammar is essential and refers to The Elements of Style by Strunk and White as a valuable resource for understanding the basics. King emphasizes that bad grammar leads to bad sentences and suggests breaking the rules of grammar only if one has a certain mastery over the text. He then focuses on the fundamental components of writing: nouns and verbs. These two elements are indispensable, as every complete sentence must contain at least one of each. King finds value in using simple noun-verb constructions to avoid excessive modifiers and clauses that can confuse readers. He recommends acquiring a copy of Warriner's English Grammar and studying it to enhance one's understanding of grammar.
King discusses two of his personal writing "pet peeves" in this chapter. The first is the use of the passive voice, where the object of the verb is placed at the beginning of the sentence instead of the doer of the action. King finds the passive voice weak, circuitous, and often tortuous. He believes that writers use it as a safety net and to lend authority to their work. However, he advises against its frequent use.
The second pet peeve is the overuse of adverbs. King cautions that adverbs, which modify verbs, adjectives, and other adverbs, are often relied upon by timid writers who feel they are not clearly expressing themselves. He gives the example of using "he slammed the door" instead of "he closed the door firmly." King suggests using adverbs sparingly and avoiding them in dialogue attribution. While he admits to having been guilty of using adverbs himself, he makes a conscious effort to minimize their use.
King discusses style, which he places on the second level of the writer's toolbox. He reiterates that The Elements of Style is an excellent resource for style advice. The focus of this chapter is on paragraphs, which King describes as maps of intent and the basic unit of writing. In expository prose, paragraphs should be neat and utilitarian, witha topic sentence stating intent and subsequent sentences amplifying the main
idea. In fiction, paragraphs are less structured and dictated by the turns and rhythms of the story. Fragments can also be used as paragraphs, serving to streamline narration, create clear images, and generate tension. They resemble speech more than traditional writing.
King concludes the toolbox section by reflecting on writing and its meaning. He prompts readers to pick up a book and consider its weight, emphasizing that weight alone doesn't guarantee quality. However, commitment is a crucial factor in determining the success or failure of a book. He introduces the third level of the toolbox, where writers begin to create "real fiction." As paragraphs start to breathe and come alive, writers can use all of their tools to construct elaborate narratives, akin to building whole mansions, as long as they have the energy and dedication to do so.
King reflects on his two main theses: mastering the fundamentals in the toolbox and the potential to turn a competent writer into a good one. He emphasizes the importance of reading a lot and writing a lot. Reading exposes writers to different writing styles, teaches valuable lessons about style, narration, plot development, character creation, and truth-telling. Writers should always have a book with them and reduce TV time to make more room for reading. Ultimately, the joy of reading and writing should be the driving force.
King discusses what it means to "write a lot" and shares his personal writing practice. When working on a project, he writes every day, aiming for 2,000 words or ten pages. He prefers to work in the mornings and believes the first draft of a book should be completed within three months. He emphasizes the importance of maintaining a consistent and focused writing routine, avoiding interruptions and distractions. King encourages writers to make the most of their writing time and maintain
a steady pace.
King provides advice for establishing a daily writing practice. He recommends having a designated writing space that is free from distractions. This space should have a door that can be closed to create a focused and creative atmosphere. Starting with small, manageable goals, such as writing 1,000 words a day six days a week, can help establish a writing routine and build discipline. King suggests approaching the writing roomas a place for "creative sleep" and urges writers to eliminate distractions as they progress in their craft.
King explores the content of writing and emphasizes the importance of telling the truth. Writers should write about anything they want, imitating admired authors at the beginning but gradually developing their own unique voice and perspective. Writing should not be solely driven by monetary or impressiveness motives. Instead, writers should infuse their work with personal knowledge and experiences of life, relationships, work, and more. King uses John Grisham's "The Firm" as an example of a successful book based on the author's reality and experience.
King delves into the concept of plot, advocating for a more organic approach rather than extensive plotting and outlining. He suggests starting with a situation and characters and allowing the story to unfold naturally. Plotting should be a last resort, as it can make the story feel forced and artificial. King shares his own experience of rarely plotting stories beforehand, often developing ideas as he goes about his daily life. He provides a writing exercise that begins with a situation and encourages writers to start writing without detailed plotting.
King focuses on the importance of description in creating a sensory experience for readers. He advises finding a balance between too much and too little description, recommending a focus on locale and texture rather than excessive physical descriptions of characters. Fresh images, simple vocabulary, and avoiding clich?d similes and metaphors are key to effective description. King provides an excerpt from his work set in a restaurant to illustrate the power of description.
This chapter centers on dialogue, which is crucial for defining characters and giving them a distinct voice. Good dialogue is a pleasure to read, while bad dialogue can be detrimental to the story. King acknowledges that some writers have a natural talent for writing dialogue, while others need to work on developing the skill. He emphasizes the importance of honesty in dialogue, as it brings resonance and realism. Writers should know their characters well to capture their unique way of speaking, using profanity only when it feels authentic.
The rules for dialogue also apply to character construction. King advises writers to payattention to real people's behavior and truthfully depict characters based on observation and experience. Characters should not be one-dimensional tropes butshould grow and evolve throughout the story. King believes that every character created by a writer is a part of themselves, reflecting aspects of their own personality. He encourages writers to draw inspiration from their own lives and observations when constructing characters. For example, King acknowledges that parts of himself can be found in the character of Paul Sheldon.
King emphasizes the importance of using anything that improves the quality of writing without hindering the story. He explores symbolism,
which should adorn and enrich the story rather than create artificial profundity. Symbolism already exists within the story, and the writer's task is to notice it and draw it out. King provides an example from his own work, "Carrie," where he discovers the symbolic implications of blood. He encourages writers to experiment and focus on grace notes and ornamental touches once the basic storytelling is accomplished.
King discusses the role of theme in storytelling and advises starting with the story and situation before exploring the theme. Beginning with questions and thematic concerns can lead to bad fiction. Once the first draft is completed, the writer should step back and identify the underlying theme of the story. In subsequent drafts, the writer can make the theme more apparent. King shares his experience with "The Stand," where he struggled with the story until he discovered its theme, enabling him to finish the novel.
King delves into the process of revision. He describes his own approach as involving two drafts and a polish, although the rewriting process may vary for different authors. He recommends completing the first draft without showing it to anyone and then setting it aside for at least six weeks to gain distance. During the read-through, the writer should use their writer's toolbox to identify and correct any major errors. King highlights the importance of resonance in revision, focusing on what the writer meant to convey. After initial revisions, the manuscript can be shared with trusted friends, with the writer's spouse or "Ideal Reader" providing valuable feedback. The writer retains the final decision on changes, but if multiple readers agree on a problem, it should be addressed.
King explores the concepts of pacing and backstory, with the writer's Ideal Reader playing a role in providing feedback. Pacing refers to the
speed at which the narrative unfolds, and the IdealReader can help identify parts where boredom or over-explanation occurs. King shares a rejection note he received in high school that advised reducing the second draft by 10%, which he embraced as valuable editing advice. Regarding backstory, King suggests starting the story anew without excessive backstory, focusing on the interesting parts. However, some backstory is necessary, and the Ideal Reader's input can help identify areas where clarity or engagement may be lacking.
King explores the role of research in writing and considers it a specialized kind of backstory. He believes that story and characters should remain in the foreground, with research supporting them from the background. He shares an example from his own life where a personal experience at a gas station inspired him to write a story called "From a Buick Eight." Research is important for authenticity, and King plans to do ride-alongs with the police in Pennsylvania to enhance the novel's realism, even though the focus will be on monsters and secrets rather than police procedures.
King expresses his skepticism about the value of writing classes and seminars. He believes that workshops can lead to self-doubt and constant questioning, which may hinder the writing process. However, he acknowledges that being exposed to good writing teachers and having one's work taken seriously can be beneficial. King shares his own experience in a poetry workshop where he felt ashamed of his novel's content compared to others' poetry. This led him to keep his novel a secret and temporarily stop writing.
King discusses the publishing world and the role of agents. While some perceive publishing as an exclusive and closed community, King asserts that aspiring writers can find agents if their work is promising or
saleable. He advises young writers to read extensively and familiarize themselves with the market by studying magazines and utilizing resources like Writer's Market, which lists agents and publishers. King provides an imaginary example of a young writer named Frank who gains acceptances for his stories and eventually queries agents once he has several publications. He highlights the importance of a clear cover letter and providing necessary information when approaching agents.
In the final chapter of this section, King acknowledges that he hasn't covered every aspect of the writing life but feels confident discussing those he has addressed. He admits that articulating his intuitive knowledgehas been challenging. He emphasizes that he has never written for money, even though he has been well-paid for his work. The primary focus for him has always been the act of writing itself, rather than financial gain.
King recounts the accident he experienced in June 1991. While staying at his house in Maine, he takes a walk along Route 5. As he walks up a hill, he is struck by a Dodge van driven by Bryan Smith. The collision causes King to lose consciousness, and he only remembers fragments of the aftermath.
King finds himself lying in a ditch, covered in blood, and in intense pain, particularly from his right leg. He notices that his lap seems to be in a strange, sideways position. Smith, someone who comes to his aid, reassures him that help is on the way. However, King loses consciousness again. Later, a medic arrives to attend to his injuries and takes him to Northern Cumberland Hospital. The extent of his injuries is severe enough that he needs to be airlifted to Central Maine Medical Center. During the helicopter flight, his lung collapses, adding to the seriousness of the situation. Once he arrives at the Medical Center, there
is a gap in his memory, as if a significant portion of it has been erased or taken out, leaving him uncertain about what happened during that period.
King provides a list of his injuries, which includes a lower leg broken in nine places, a right knee split down the middle, a fractured hip, a chipped spine, four broken ribs, and a lacerated scalp.
Bryan Smith is charged with "driving to endanger" and "aggravated assault." He pleads guilty to lesser charges and receives a suspended jail sentence of six months and a one-year suspension of his license.
King describes the initial stages of his recovery. He undergoes five extensive surgical procedures on his leg. On June 25th, he is able to get up and walk to the commode for the first time. Physical therapy follows, and by July 4th, he can sit up in a wheelchair. He is discharged from the hospital on July 9th, having lost significant weight during his stay. On July 24th, he resumes writing.
In July, King decides to resume working on his memoir, "On Writing." Despite the pain and uncertainty about how the book will progress, he sets up a writing station in the back hall with the support of his wife, Tabby. Initially, his writing sessions are challenging, but he persists and gradually finds the words flowing more freely.
King concludes the memoir by noting thatthings have gradually
improved for him. Writing can be a difficult and demanding endeavor, but there are also moments when everything falls into place. He emphasizes how writing has enriched his life and encourages readers to embrace writing as a source of fulfillment. He includes "And Furthermore, Part I and Part II," which feature examples of "The Hotel Story" with line edits and a reading list of books that have influenced him.