OnWriting

On WritingStephen King

StephenKing'swriting memoir, On Writing, combines personal narrative with advice towriters.Inthe following excerpt, King tells how he made a sickly childhood year bearable byreadingand eventually writing.

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That year my brother David jumped ahead to thefourth grade and I was pulled out of school en­tirely.I had missed too much of the first grade,mymother and the school agreed; I could start itfreshin the fall of the year, if my health was good.

Most of that year I spent either in bed orhousebound. I read my way through approxi­matelysix tons of comic books, progressed to TomSwiftand Dave Dawson (a heroic World War IIpilot whose various planes were always "prop­clawingfor altitude"), then moved on to JackLondon's bloodcurdling animal tales. At somepointI began to write my own stories. Imitationpreceded creation; I would copy Combat Caseycomicsword for word in my Blue Horse tablet,sometimes adding my own descriptions wheretheyseemed appropriate. "They were camped ina big dratty farmhouse room," I might write; itwasanother year or two before I discovered thatdrat and d1'aft were different words. During thatsameperiod I remember believing that detailsweredentals and that a bitch was an extremely tallwoman.A son of a bitch was apt to be a basketballplayer.When you're six, most of your Bingo ballsarestill floating around in the draw-tank.

Eventually I showed one of these copycat hy­bridsto my mother, and she was charmed-I re­memberher slightly amazed smile, as if she wasunableto believe a kid of hers could be so smart­

practicallya damned prodigy, for God's sake. I hadneverseen that look on her face before-not on

myaccount, anyway-and I absolutely loved it.Sheasked me if I had made the story up myself,

andI was forced to admit that I had copied mostof it out of a funnybook. She seemed disap-

pointed, and that drained away much of my plea­sure. At last she handed back my tablet. "Writeone of your own, Stevie," she said. "Those CombatCasey funnybooks are just junk-he's alwaysknocking someone's teeth out. I bet you could dobetter. Write one of your own."

I remember an immense feeling of possibility at 5

the idea, as if! had been ushered into a vast build­ing filled with closed doors and had been givenleave to open any I liked. There were more doorsthan one person could ever open in a lifetime, Ithought (and still think).

I eventually wrote a story about four magic an­imals who rode around in an old car, helping outlittle kids. Their leader was a large white bunnynamed Mr. Rabbit Trick. He got to drive the car.The story was four pages long, laboriously printedin pencil. No one in it, so far as I can remember,jumped from the roof of the Graymore Hotel.When I finished, I gave it to my mother, who satdown in tlle living room, put her pocketbook onthe floor beside her, and read it all at once. I couldtell she liked it-she laughed in all the rightplaces-but I couldn't tell if that was because sheliked me and wanted me to feel good or because itreally was good.

"You didn't copy this one?" she asked when shehad finished. I said no, I hadn't. She said it wasgood enough to be in a book. Nothing anyone hassaid to me since has made me feel any happier. Iwrote four more stories about Mr. Rabbit Trick

and his friends. She gave me a quarter apiece forthem and sent them around to her four sisters, whopitied her a little, I think. They were all still mar­ried, after all; their men had stuck. It was true that

I!

I

I

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Uncle Fred didn't have much sense of humor and

was stubborn about keeping the top of his convert­ible up, it was also true that Uncle Oren drankquite a bit and had dark theories about how theJews were running the world, but they were there.

1 THE WRITER'S PROCESS

Ruth, on the other hand, had been left holding thebaby when Don ran out. She wanted them to seethat he was a talented baby, at least.

Four stories. A quarter apiece. That was the firstbuck I made in this business.