I’ve been reading Bare Bones, a collection of Stephen King interviews published in 1988. This is from a 1983 Playboy interview with him, about his young hungry days before he was published: How did your marriage stand up under those strains?KING: Well, it was touch and go for a while there, and things could get pretty tense at home. It was a vicious circle: The more miserable and inadequate I felt about what I saw as my failure as a writer, the more I’d try to escape into a bottle, which would only exacerbate the domestic stress and make me even more depressed. Tabby was steamed about the booze, of course, but she told me she understood that the reason I drank too much was that I felt it was never going to happen, that I was never going to be a writer of any consequence. And, of course, I feared she was right. I’d lie awake at night seeing myself at fifty, my hair graying, my jowls thickening, a network of whiskey-ruptured capillaries spiderwebbing across my nose — “drinker’s tattoos,” we call them in Maine — with a dusty trunkful of unpublished novels rotting in the basement, teaching high school English for the rest of my life and getting off what few literary rocks I had left by advising the student newspaper or maybe teaching a creative writing course. Yechh! Even though I was only in my mid-twenties and rationally realized that there was plenty of time and opportunity ahead, that pressure to break through in my work was building into a kind of psychic crescendo, and when it appeared to be thwarted, I felt desperately depressed, cornered. I felt trapped in a suicidal rat race, with no way out of the maze. Sometimes we let fear of failure keep us from embracing our writing and making sacrifices to it. King is the first writer I’ve heard of who let fear of failure drive him to keep writing. For him, it was success or nothing — no other options were tolerable. That attitude made him miserable… but it also got him published. In the same interview with Playboy in 1983, Stephen King stated: “The real problem is that Kubrick set out to make a horror picture with no apparent understanding of the genre. Everything about it screams that from beginning to end, from plot decision to the final scene – which has been used before on The Twilight Zone.” “The [horror] genre exists on three basic levels, separate but independent, and each one a little bit cruder than the one before. There’s terror on top, the finest emotion any writer can induce; then horror; and on the very lowest level of all, the gag instinct of revulsion. Naturally, I’ll try to terrify you first, and if that doesn’t work, I’ll try to horrify you, and if I can’t make it there, I’ll try to gross you out.” “Writing is necessary for my sanity. As a writer I can externalize my fears and insecurities and night terrors on paper… And in the process, I’m able to write myself sane.” “Those avatars of high culture hold it almost as an article of religious faith that plot and story must be subordinated to style, whereas my deeply held conviction is that story must be paramount… All other considerations are secondary - theme, mood, even characterization and language.”
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I’ve been reading Bare Bones, a collection of Stephen King interviews published in 1988. This is from a 1983 Playboy interview with him, about his young hungry days before he was published:

How did your marriage stand up under those strains?
KING: Well, it was touch and go for a while there, and things could get pretty tense at home. It was a vicious circle: The more miserable and inadequate I felt about what I saw as my failure as a writer, the more I’d try to escape into a bottle, which would only exacerbate the domestic stress and make me even more depressed. Tabby was steamed about the booze, of course, but she told me she understood that the reason I drank too much was that I felt it was never going to happen, that I was never going to be a writer of any consequence. And, of course, I feared she was right.

I’d lie awake at night seeing myself at fifty, my hair graying, my jowls thickening, a network of whiskey-ruptured capillaries spiderwebbing across my nose — “drinker’s tattoos,” we call them in Maine — with a dusty trunkful of unpublished novels rotting in the basement, teaching high school English for the rest of my life and getting off what few literary rocks I had left by advising the student newspaper or maybe teaching a creative writing course. Yechh! Even though I was only in my mid-twenties and rationally realized that there was plenty of time and opportunity ahead, that pressure to break through in my work was building into a kind of psychic crescendo, and when it appeared to be thwarted, I felt desperately depressed, cornered. I felt trapped in a suicidal rat race, with no way out of the maze.
Sometimes we let fear of failure keep us from embracing our writing and making sacrifices to it. King is the first writer I’ve heard of who let fear of failure drive him to keep writing. For him, it was success or nothing — no other options were tolerable. That attitude made him miserable… but it also got him published.

In the same interview with Playboy in 1983, Stephen King stated: “The real problem is that Kubrick set out to make a horror picture with no apparent understanding of the genre. Everything about it screams that from beginning to end, from plot decision to the final scene – which has been used before on The Twilight Zone.”

“The [horror] genre exists on three basic levels, separate but independent, and each one a little bit cruder than the one before. There’s terror on top, the finest emotion any writer can induce; then horror; and on the very lowest level of all, the gag instinct of revulsion. Naturally, I’ll try to terrify you first, and if that doesn’t work, I’ll try to horrify you, and if I can’t make it there, I’ll try to gross you out.”

“Writing is necessary for my sanity. As a writer I can externalize my fears and insecurities and night terrors on paper… And in the process, I’m able to write myself sane.”

“Those avatars of high culture hold it almost as an article of religious faith that plot and story must be subordinated to style, whereas my deeply held conviction is that story must be paramount… All other considerations are secondary - theme, mood, even characterization and language.”

Source: noveldog.com

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