On Writing is the only fiction writing handbook/manual that I've ever read in full and enjoyed. It functions well as a memoir for King, yes, but it also has some of the most actionable advice for fiction (prose or screenwriting) that I've seen.

Unlike Save The Cat and all of those awful screenwriting books, it doesn't spit out a formula for writing that takes all the enjoyment out of the process, but instead sets out some specific ideals for content that you should try to achieve. It changed how I look at my writing, particularly prose, but also screenplays.

I don't read Stephen King books in huge quantities like some others, but I'm glad he exists for this book alone at least (and Carrie. Carrie was awesome). I highly recommend reading this before paying for anything by Blake Snyder, the famously successful writer of 'Stop! Or My Mom Will Shoot!" and literally nothing else.

EDIT: You can read the whole thing here: http://biblioteka.teatr-obraz.ru/files/file/English_cinema/Stephen_King_On_Writing.pdf

I have a feeling there might be another thread on this...  I'll have a look and merge if so.

Just wanted to say, I agree wholeheartedly, Ben.
A great 'how to' with some terrific tips, and a thoroughly enjoyable read.

P.S. Bought three copies of this (I still like to read an actual book - not Kindle etc.).
Bought one for Hubby (which we lost) bought a replacement which we both read, then bought another for my budding-writer nephew.

Much thanks for the link

Quoted from AlsoBen Unlike Save The Cat and all of those awful screenwriting books, it doesn't spit out a formula for writing that takes all the enjoyment out of the process, but instead sets out some specific ideals for content that you should try to achieve. It changed how I look at my writing, particularly prose, but also screenplays.

I agree, however, if ‘specific ideals’ you wish to capture within your story or screenplay are lost within the construct, or simply put… out of place, then the misplaced ‘content’ could easily derail the story.

I’m not defending ‘Save the Cat’, no. I read it, and it would appear Snyder’s only pursuit was to show Hollywood how to quickly and easily churn out 90 minute comedies that were attractive to production houses because of low budgets and relatable scenarios.

With regards to ‘formulaic’ story constructs, I believe they are immutable. Take Joseph Campbell’s magnum opus ‘The Hero with a Thousand Faces’ as an example:

“… (first published in 1949) is a work of comparative mythology by Joseph Campbell, in which the author discusses his theory of the mythological structure of the journey of the archetypal hero found in world myths.

Since the publication of The Hero with a Thousand Faces, Campbell's theory has been consciously applied by a wide variety of modern writers and artists. Filmmaker George Lucas acknowledged Campbell's theory in mythology, and its influence on the Star Wars films.”

I myself, found Campbell’s Mythological Theory (the formulaic construct of storytelling) compelling enough that I took my whole outlook of screenwriting in that direction from day one. I had to study it tooth and nail for it to land, but read it I did, over and over.

Using Campbell’s “structure of the journey of the archetypal hero” and a few other reads here and there: ‘Psychology for Screenwriters’ by William Indick ; ‘Cinema Nirvana’ by Dean Sluyter; and notes on prime Jungian Archetypes,  I was able to create a 135 page screenplay that runs the entire gauntlet of the hero’s journey. As well, was able to construct and write an alternative screenplay narrative that I could easily use to write a feature script in any genre, and where to embed archetypes within the hero’s journey to excel them along their path of Thesis-Antithesis-Synthesis.

Saying something is ‘awful’ because you see no use in it or found it doesn’t work for what you desire to achieve, doesn’t mean it won’t or couldn’t work for someone else. New screenwriters absolutely need to understand the proper construct of a screenplay before they get 60 pages deep and realize their story is going nowhere. Once that’s understood, then a writer can go deep with characters and story and not be wondering, for example, where or when a new or important character should come into play.

Just my rusty 2 cents of course.

Story structure is innate to humans. Pre-literate oral myths and legends follow a rising and falling tension structure. It's the way our brains most comfortably process compelling narrative.

Snyder took advantage of a natural state of conscious being and over-complicated it to a ridiculous point, just so he could slap a trademark on it.

Any of the writers who found STC helpful could have learnt the same skills by reading fiction and engaging with narrative, and it would have additionally given them many other skills not gained by reading Snyder.

Quoted from AlsoBen Any of the writers who found STC helpful could have learnt the same skills by reading fiction and engaging with narrative, and it would have additionally given them many other skills not gained by reading Snyder.

Yes, my bad, I read the initial post as stating 'structure itself' is bad way to learn how to properly script a story. It’s best for new writers to avoid STC like the plague and reach for an alternative such as Campbell’s Hero’s Journey to get a grasp on how structure works, and narrative.