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Stephen Kings Writing Tips Cheat Sheet by

Stephen King's wisdom
quotes     king     stephen

Tips 1 -20

1. “Put your desk in the corner, and every time you sit down there to write, remind yourself why it isn’t in the middle of the room. Life isn’t a support system for art. It’s the other way around.”
2. “Write with the door closed, and rewrite with the door open.
3. “There are lots of would-be censors out there, and although they may have different agendas, they all want basically the same thing: for you to see the world they see… or to at least shut up about what you do see that’s different. They are the agents of the status quo.”
4. “Write what you like, then imbue it with life and make it unique by blending in your own personal knowledge of life, friend­ship, relati­ons­hips, sex, and work. Especially work. People love to read about work.”
5. “Dumbo got airborne with the help of a magic feather; you may feel the urge to grasp a passive verb or one of those nasty adverbs for the same reason. Just remember before you do that Dumbo didn’t need the feather; the magic was in him.”
6. “The real importance of reading is that it creates an ease and intimacy with the process of writing; one comes to the country with one’s papers and identi­fic­ation pretty much in order. Constant reading will pull you into a place (a mind-set, if you like the phrase) where you can write eagerly and without self-c­ons­cio­usness. It also offers you a constantly growing knowledge of what has been done and what hasn’t, what is trite and what is fresh, what works and what just lies there dying (or dead) on the page.”
7. “Stylistic imitation is one thing, and a perfectly honorable way to get started as a writer… but one cannot imitate a writer’s approach to a particular genre, no matter how simple what that writer is doing may seem.”
8. “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.”
9. “Good writing is often about letting go of fear and affect­ation.”
10. “In my view, stories and novels consist of three parts: narration, which moves the story from point A to point B and finally to point Z; descri­ption, which creates a sensory reality for the reader; and dialogue, which brings characters to life through their speech. You may wonder where the plot is in all of this. The answer—my answer, anyway—is nowhere.”
11. “For me, what happens to characters as a story progresses depends solely on what I discover about them as I go along—how they grow, in other words. Sometimes they grow a little. If they grow a lot, they begin to influence the course of the story instead of the other way around.”
12. “We’ve all heard someone say, ‘Man, it was so great (or so horrib­le/­str­ang­e/f­unny) … I just can’t describe it!’ If you want to be a successful writer, you must be able to describe it, and in a way that will cause your reader to prickle with recogn­ition.”
13. “Parag­raphs are almost always as important for how they look as for what they say; they are maps of intent.”
14. “In fiction, the paragraph is less struct­ure­d—it’s the beat instead of the actual melody. The more fiction you read and write, the more you’ll find our paragraphs forming on their own. And that’s what you want.”
15. “Writing is refined thinking.”
16. “Try any goddam thing you like, no matter how boringly normal or outrag­eous. If it works, fine. If it doesn’t, toss it.”
17. “You can’t please all of the readers all of the time; you can’t please even some of the readers all of the time, but you really ought to try to please at least some of the readers some of the time.”
18. “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.”
19. “We need to experience the mediocre and the outright rotten; such experience helps us to recognize those things when they begin to creep into our own work, and to steer clear of them.”
20. “You undoub­tedly have your own thoughts, interests, and concerns, and they have arisen, as mine have, from your experi­ences and adventures as a human being. . . . You should use them in your work.”

Tips 21-36

21. “For me, good descri­ption usually consists of a few well-c­hosen details that stand for everything else. In most cases, these details will be the very first ones that come to mind.”
22. “The important question has nothing to do with whether the talk in your story is sacred or profane; the only question is how it rings on the page and in the ear. If you expect it to ring true, then you must talk yourself. Even more important, you must shut up and listen to others talk.”
23. “What would be very wrong, I think, is to turn away from what you know and favor of things you believe will impress your friends, relatives, and writin­g-c­ircle collea­gues.”
24. “Nobody is “the bad guy” or “the best friend” or “the whore with a heart of gold” in real life; in real life we each of us regard ourselves as the main character, the protag­onist, the big cheese; the camera is on us, baby. If you can bring this attitude into your fiction, you may not find it easier to create brilliant charac­ters, but it will be harder for you to create the sort of one-di­men­sional dopes that populate so much pop fiction.”
25. “I most often see chances to add the grace-­notes and ornamental touches after my basic storyt­elling job is done.”
26. “Symbolism exists to adorn and enrich, not to create a sense of artificial profun­dity.”
27. “Good fiction always begins with story and progresses to theme; it almost never begins with theme and progresses to story.”
28. “Writing fiction, especially a long work of fiction, can be a difficult, lonely job; it’s like crossing the Atlantic Ocean in a bathtub. There’s plenty of opport­unity for self-d­oubt. If I write rapidly, putting down my story exactly as it comes to my mind, only looking back to check the names of my characters and the relevant parts of their back stories, I find that I can keep up with my original enthusiasm and at the same time outrun the self-doubt that’s always waiting to settle in.”
29. “If you’ve never done it before, you’ll find reading your book over after a six-week layoff to be a strange, often exhila­rating experi­ence. It’s yours, you’ll recognize it as yours, even be able to remember what tune was on the stereo when you wrote certain lines, and yet it will also be like reading the work of someone else, a soul-twin, perhaps. This is the way it should be, the reason you waited. It’s always easier to kill someone else’s darlings than it is to kill your own.”
30. “There is a kind of unspoken (hence undefended and unexam­ined) belief in publishing circles that the most commer­cially successful stories and novels are fast-p­aced. I guess the underlying thought is that people have so many things to do today, and are so easily distracted from the printed word, that you’ll lose them unless you become a kind of short-­order cook, serving up sizzling burgers, fries, and eggs over easy just as fast as you can. Like so many unexamined beliefs in the publishing business, this idea is largely bullshit.”
31. “The most important things to remember about back story are that (a) everyone has a history and (b) most of it isn’t very intere­sting. Stick to the parts that are, and don’t get carried away with the rest. Long life stories are best received in bars, and only then an hour or so before closing time, and if you are buying.”
32. “When you step away from the ‘write what you know’ rule, research becomes inevit­able, and it can add a lot to your story. Just don’t end up with the tail wagging the dog; remember that you are writing a novel, not a research paper. The story always comes first.”
33. “Too many writing classes make Wait a minute, explain what you meant by that a kind of bylaw… Writing class discus­sions can often be intell­ect­ually stimul­ating and great fun, but they also often stray far afield from the actual nuts-a­nd-­bolts business of writing.”
34. “Submi­tting stories without first reading the market is like playing darts in a dark room—you might hit the target now and then, but you don’t deserve to.”
35. “Writing isn’t about making money, getting famous, getting dates, getting laid, or making friends. In the end, it’s about enriching the lives of those who will read your work, and enriching your own life, as well.”
36. “I’ve written because it fulfilled me. Maybe it paid off the mortgage on the house and got the kids through college, but those things were on the side–I did it for the buzz. I did it for the pure joy of the thing. And if you can do it for joy, you can do it forever.”

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