Stephen King Quotes

I wrote 'Marvels,' which was about a guy who had two daughters, and I wrote 'Astro City Volume 2 #1,' which was about a guy who had two daughters. In both cases, about a year and a half or two years apart. And then after that, I had two daughters, about a year and a half or two years apart.

Why my interest in writers? Well, I'm one, and many of my friends are writers. I know what it's like to write. I'm interested in the creative process. I'm fascinated by the disparity between who we are on the outside, and what we have bubbling away inside us.

Like most writers, I just create because I have a story to tell, really.

Whatever is going on in your life when you're writing has to somehow seep into your work.

I started writing it, because it was seven years ago. But yes, that is the genesis of why I started writing.

I realized that even though I had this urge, this longing, to write about other people, in order for it to be emotionally gripping, I needed to be in there somehow.

When you compose, it's like writing. You're like a writer. You just think all the time.

I'm still writing from personal experiences, which is what people connected with in the first place.

In the end, you write the book that grabs you by the throat and demands to be written.

A writer's job is to imagine everything so personally that the fiction is as vivid as memories.

Every piece of writing I've done has been something where I feel like I need to get this out of me, whether it's a seed of something personal or an anxiety that turns into a play or an image that's in my mind and haunts me that I'm trying to investigate.

The three things that help writing the most are living, writing, and reading. In that order.

I don't procrastinate because I love the English language and the process of storytelling, and I'm always curious to see what will come to me next. If you procrastinate a lot, you might be one who loves having written, but doesn't so much like writing.

A writer writes what he knows, in ways that are natural to him.

The inspiration for my novels comes from the depths of a creative well, based on asking myself questions over and over. I try to write something different each time I sit down to write; I try to surprise the readers.

The more closely the author thinks of why he wrote, the more he comes to regard his imagination as a kind of self-generating cement which glued his facts together, and his emotions as a kind of dark and obscure designer of those facts. Reluctantly, he comes to the conclusion that to account for his book is to account for his life.

But it's hard for me to pinpoint where all my characters and dialogue come from - imagination or real life. My memoir, of course, was all about my past, and many of the short stories cleave very closely to my life, but the more stories I wrote in the collection, the more that seemed to be invented, but who knows... I think I'm writing about a young woman with acne who shoplifts, but I'm really writing about myself.

A little talent is a good thing to have if you want to be a writer. But the only real requirement is the ability to remember every scar.

Sometimes I write from personal experience, but so much depends on what mood I'm in. If I'm in a good mood, I'll write happier songs.

I think I'm too lazy a writer to do something like historical fiction. You have to do so much research. I just write what I know.

If I'm out in the country or something, I'm still spooked by snakes.

My writing is of a very different kind from anything I've heard about. All this mythological material is out there, a big gathering of stuff, and I have been reading it for some forty- or fifty-odd years. There are various ways of handling that. The most common is to put the material together and publish a scholarly book about it. But when I'm writing, I try to get a sense of an experiential relationship to the material. In fact, I can't write unless that happens ... I don't write unless the stuff is really working on me, and my selection of material depends on what works.

One writes such a story [The Lord of the Rings] not out of the leaves of trees still to be observed, nor by means of botany and soil-science; but it grows like a seed in the dark out of the leaf-mold of the mind: out of all that has been seen or thought or read, that has long ago been forgotten, descending into the deeps. No doubt there is much personal selection, as with a gardener: what one throws on one's personal compost-heap; and my mold is evidently made largely of linguistic matter.

I find that I end up liking songs if I really have an idea of something I wat to write about-some problem in my life or something I want to work through; if I don't have something like that at the root of the song, then I think I end up not caring about it as much. I gravitate towards some kind of concept or idea or situation that I want to write about. Very often I have to write, rewrite and come at it from an opposite angle...and I end up writing the opposite song that I thought I was going to write.

I would've been able to write anything about mental-health crises had I not felt good.