By Stephen King

The 3rd version of Bradbury's much-loved vintage provides 3 new exuberant essays at the pleasures of writing from essentially the most artistic, creative, and prolific artists of the twentieth century--an writer who actually enjoys his craft and tells you why and the way.

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I saw Olivia de Havilland put out James Caan’s eyes with makeshift knives in Lady in a Cage, saw Joseph Cotten come back from the dead in Hush . . Hush, Sweet Charlotte, and watched with held breath (and not a little prurient interest) to see if Allison Hayes would grow all the way out of her clothes in Attack of the 50 Ft. Woman. At the Ritz, all the finer things in life were available . . or might be available, if you only sat in the third row, paid close attention, and did not blink at the wrong moment.

No,” I said. “When you write a story, you’re telling yourself the story,” he said. ” Gould said something else that was interesting on the day I turned in my first two pieces: 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. Or criticize it. If you’re very lucky (this is my idea, not John Gould’s, but 57 Stephen King I believe he would have subscribed to the notion), more will want to do the former than the latter.

The Drum did not prosper under my editorship. Then as now, I tend to go through periods of idleness followed by periods of workaholic frenzy. In the schoolyear 1963–1964, The Drum published just one issue, but that one was a monster thicker than the Lisbon Falls telephone book. One night— sick to death of Class Reports, Cheerleading Updates, and some lamebrain’s efforts to write a school poem—I created a satiric high school newspaper of my own when I should have been captioning photographs for The Drum.

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