On Writing by Stephen King

'On Writing", a memoir of Stephen King is a must read for every wanna-be story writer. First half of the book is on King's life and the rest is about story writing. His insights on drafting and story developing are priceless. 

These are some of the valuable insights( at least to me)/interesting parts from the book:   

• Your job isn't to find the ideas but to recognize them when they show up.
• When you write a story, you’re telling yourself the story.
• Amateurs sit and wait for inspiration, the rest of us just get up and go to work.
• When you rewrite, your main job is taking out all the things that are not the story.
• Write with the door closed, rewrite with the door open. Your stuff starts out being just for you, in other words, but then it goes out. Once you know what the story is and get it right - as right as you can, anyway—it belongs to anyone who wants to read it.
• The door closes the rest of the world out; it also serves to close you in and keep you focused on the job at hand.
• Use the first word that comes to your mind, if it is appropriate and colorful.
• One of the really bad things you can do to your writing is to dress up the vocabulary, looking for long words because you’re maybe a little bit ashamed of your short ones. This is like dressing up a household pet in evening clothes.
• The road to hell is paved with adverbs
• All I ask is that you do as well as you can, and remember that, while to write adverbs is human, to write he said or she said is divine.
• If you want to be a writer, you must do two things above all others: read a lot and write a lot. There’s no way around these two things that I’m aware of, no shortcut.
• Every book you pick up has its own lesson or lessons, and quite often the bad books have more to teach than the good ones.
• When you write a book, you spend day after day scanning and identifying the trees. When you’re done, you have to step back and look at the forest.
• I suggest a thousand words a day, and because I’m feeling magnanimous, I’ll also suggest that you can take one day a week off, at least to begin with. No more; you’ll lose the urgency and immediacy of your story if you do. With that goal set, resolve to yourself that the door stays closed until that goal is met. Get busy putting those thousand words on paper or on a floppy disk.
• 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. God knows why, but they do.
• 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 plot is in all this. The answer—my answer, anyway—is nowhere. I won’t try to convince you that I’ve never plotted any more than I’d try to convince you that I’ve never told a lie, but I do both as infrequently as possible. I distrust plot for two reasons: first, because our lives are largely plotless, even when you add in all our reasonable precautions and careful planning; and second, because I believe plotting and the spontaneity of real creation aren’t compatible. It’s best that I be as clear about this as I can—I want you to understand that my basic belief about the making of stories is that they pretty much make themselves. The job of the writer is to give them a place to grow (and to transcribe them, of course). If you can see things this way (or at least try to), we can work together comfortably. If, on the other hand, you decide I’m crazy, that’s fine. You won’t be the first.
• I believed stories are found things, like fossils in the ground, The writer’s job is to use the tools in his or her toolbox to get as much of each one out of the ground intact as possible. Sometimes the fossil you uncover is small; a seashell. Sometimes it’s enormous, a Tyrannosaurus Rex with all those gigantic ribs and grinning teeth. Either way, short story or thousand-page whopper of a novel, the techniques of excavation remain basically the same.
• Description begins in the writer’s imagination, but should finish in the reader’s.
• It’s also important to remember it’s not about the setting, anyway—it’s about the story, and it’s always about the story. It will not behoove me (or you) to wander off into thickets of description just because it would be easy to do. We have other fish (and steak) to fry.
• When it comes to scene-setting and all sorts of description, a meal is as good as a feast.
• In many cases when a reader puts a story aside because it “got boring,” the boredom arose because the writer grew enchanted with his powers of description and lost sight of his priority, which is to keep the ball rolling.
• One of the cardinal rules of good fiction is never tell us a thing if you can show us, instead.
• 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.
• In the spring of my senior year at Lisbon High—1966, this would’ve been—I got a scribbled comment that changed the way I rewrote my fiction once and forever. Jotted below the machine-generated signature of the editor was this :“Not bad, but PUFFY. You need to revise for length. Formula: 2nd Draft = 1st Draft – 10%. Good luck.”
• 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.
• I must tell you, though, that confidence during the actual writing of this book was a commodity in remarkably short supply.
• The scariest moment is always just before you start. After that, things can only get better.