Short Story Writing Part 6

Irving: "The Spectre Bridegroom;" "Rip Van Winkle."

Poe: "Morella;" "Ligeia."

Stevenson: "Markheim."

Wilkins: "A Modern Dragon;" "A Kitchen Colonel."

The t.i.tle may mention the princ.i.p.al object:

Adee: "The Life Magnet."

Burnett: "The Spider's Eye."

Hawthorne: "The Great Stone Face;" "The Great Carbuncle."

James: "The Aspern Papers."

Kipling: "The Phantom Rickshaw."

Poe: "The Black Cat;" "The Gold Bug."

Stevenson: "The Bottle Imp."

FOOTNOTES:

[Footnote 18: "Literary Chat." _Munsey's Magazine._ May, '98.]

[Footnote 19: "Misleading t.i.tles of Books," by William Mathews. _The Sat.u.r.day Evening Post._ Apr. 21, 1900.]

V

THE USE OF FACTS

All fiction is founded upon fact, for the boldest imagination must have some definite point from which to take its flight; but the ungarnished truth is seldom literature in itself, though it may offer excellent material for literary embellishment. The amateur, content with knowing that he is recounting what did actually happen, falls into the most inartistic ways, because he does not understand that facts are properly only crude material for the fictionist.

The one place where the average short story writer should _not_ seek his material is the world of literature. Almost from the time when men first began to dabble in letters they have drawn on their predecessors for their subject matter; but this practice has produced a deal of unconscious plagiarism, which is responsible for most of the conventional and stereotyped stories with which we are afflicted to-day. Of any one hundred average stories submitted for sale, probably seventy-five are d.a.m.ned by their hopelessly hackneyed conception and treatment; and they suffer because the writer, reading some attractive story built upon a similar plot, has attempted to go and do likewise, and has unconsciously used all the conventional parts while omitting the essential individuality.

It is safe for the novice to go only to the world for literary material.

The matter so obtained will be intrinsically the same as that gained from the writings of others, but the fact that you get your information through your own senses will considerably obviate the danger of adopting the conventional view in the matter. I do not mean to say that you should deliberately set out to search for new types and incidents as d.i.c.kens did, though I would certainly commend such a course; I mean rather that you should be content to write of what you personally and intimately know, and not attempt to treat of matters of which you have only a vague superficial knowledge, or of which you are totally ignorant. Excellent stories have been written by men who were personally unacquainted with the matters with which they dealt, but they were in every case masters of their art, who knew how to gain and use second-hand information and how to supplement insufficient data with literary skill.

Too many novices have the mistaken idea that only those things which are dim and distant are fit for artistic treatment. They have not cultivated their powers of perception, and have failed to grasp the truth that human nature is in most respects the same the world over, and that persons and places, apparently the most ordinary, have stories to tell.

Before Mary E. Wilkins began to write her New England tales few thought to look to those bleak hills and commonplace people for literary material; and doubtless many New Englanders, feeling the impulse to write, viewed with scorn their unpoetic surroundings and longed for the glamour of some half-guessed clime; Miss Wilkins, appreciating her environment, won fame and fortune through her truthful depictions of those things which others, equally able to write but less able to see, had despised.

It is a common trick of aspiring writers to locate their stories in England, to speak proudly but uncertainly of grand estates, n.o.ble castles, and haughty lords and ladies, and to make mistakes which would be ridiculous were they not so inexcusable. There is a certain half-feudal glamour about England yet which appeals strongly to the callow author: it lends that rosy haze of romance and unreality which is popularly a.s.sociated with fiction; but it was long ago done to death by mediocre writers and laughed out of good literary society, and to-day America will not suffer any such hackneyed fol-de-rol.

Similarly the amateur will locate his story in the "best" society of some American metropolis, when he has never been out of his native village, and knows nothing of the cla.s.s with which he deals except through the society column of his newspaper. Therefore he will of course "fall flat when he attempts to delineate manners. It is too evident that he has not had the _entree_ to the circle he would describe: his gentlemen commit too many blunders, his ladies are from the wrong side of the town, the love-pa.s.sages are silly and vulgar, the whole result is stupid and offensive--to those who know. The thing hopelessly lacks tone; it might pa.s.s below stairs, but not in the drawing-room."[20] It is not only those of wealth and leisure who are eligible for literary purposes; indeed, their lives, apparently so gay and exciting, are often a dull and regular series of attempts to kill the dawdling time. If the young writer would look into the lives of his own simple neighbors he would find much better matter for his intended stories.

Again, the novice, in his search for something different, will place his tale in the dim and distant past, when all men were brave and all women lovely; and in so doing will expose himself to ridicule and contempt for his evident ignorance of the matters of which he pretends to treat. It is very probable that any age seems dull and commonplace to those who live in it, for "familiarity breeds contempt" for almost anything; but though we of to-day have no valiant knights, armed cap-a-pie, riding forth to the jousts to do battle for their ladies fair, we have men just as brave and deeds fully as valorous and far more sensible; and the world is, and always will be, full of n.o.ble and romantic and marvelous things.

If, however, you feel that you must write of times and scenes and peoples which are either past or foreign, it is your first duty to inform yourself to the best of your ability concerning them. I do not believe that any writer can successfully locate his story in a foreign country unless he has personal knowledge of the scenes and persons that he describes, or unless he is thoroughly versed in the language and literature of the country--and in the latter case he would probably be too pedantic to write readable stories. At first thought it does not seem so difficult to handle English subjects, for there we have the advantage of a common language and, to a considerable extent, of common racial traits; but even that common language, as spoken on the other side of the Atlantic, has an every-day vocabulary differing from ours, and the English government and social system present difficulties almost insurmountable to one who cannot study them face to face. In dealing with themes of the past there is more opportunity.

There we are all on the common ground of an absolute dependence on such books as may preserve for us pictures of those times, and complete information--complete, at least, in the sense that no one knows more--can be had at the price of a certain number of hours of painstaking study. If, then, you desire to write of the days that are gone, see to it that you first thoroughly acquaint yourself with the history of those times. There are few towns too small to possess a library, and few libraries too small to contain such historical books as you may need.

In these days when all things come to Mohamet, the writer may gain a valuable though impersonal insight into the world at large through the medium of the public press. The newspapers of to-day are full of incipient plots, needing only the skillful pen to make them literature. Reporters go everywhere and see everything, and they place the result of their multifarious labors in your hands every morning. They recount actual happenings accurately enough for literary purposes, they strain for the unusual side of things, and their purpose is too different from yours to make you liable to the charge of plagiarism if you rework their material. The receptive perusal of any newspaper ought to furnish the reader with a fresh stock of literary material. Such matter is particularly valuable to the short story writer because of the present and ever increasing demand for stories of the day, plots, characters, situations, and local color for which may be culled from any newspaper.

But short story writing is an art, and all facts may not be capable of literary treatment. "Even actual occurrences may be improper subjects for fiction. Nature can take liberties with facts that art dare not--a truth that has pa.s.sed into a proverb.... Art may fill us with anger, fear, terror, awe, but the moment it condescends to excite disgust, it pa.s.ses out of the realm of art."[21] "There seems no reason why the artist should not choose any subject, if the production itself contributes to the satisfaction of the world, making a picture of life, or of a phase of life, in compliance with the demands of art, beauty, and truth. Taste is the arbiter of the subject, for taste is always moral, always on the side of the angels. There are certain things which are only subjects for technical reform, for the sanitary inspector, and for the physician--not for the novelist."[22] "The carnage of a battle-field, the wrecked cafe or theatre after dynamite has done its work, had best be handled sparingly.... A good many things that happen on this planet are not good subjects for art: the pathetic (within limits) is always in order, but not the shocking. Moral are worse than physical horrors."[23] "Even genius may waste itself on an unmanageable theme; it cannot make the cleaning of fish interesting, nor the slums of New York or Paris attractive."[24]

It is rare indeed that a fact can be used without embellishment. Mere facts are frequently most unliterary, though they may be susceptible of a high literary polish. The sub-t.i.tle "A True Story," which young writers think so valuable a part of the tale, is too often the trademark of an unreadable mess of conventional people, ordinary incidents and commonplace conversation. We find few genuinely true stories, and when we do find them we seldom care to read them through. I have read many stories which I knew to be literally true, because they contained so much of the hackneyed and the irrelevant.

Life itself is a very conventional affair; it abounds with dull events and stupid people; and for that reason alone fiction would demand something out of the common. Commonplace persons and commonplace things do appear in literature, but they must have something more than their commonplaceness to recommend them.

"The novice in story telling ... has heard that truth is stranger than fiction, and supposes that the more truth he can get into his tale the stronger and more effective it will be.... Truth, _i. e._, reality, is very seldom strange; it is usually tame and flat and commonplace; and when it is strange it is apt to be grotesque and repulsive. Most of the experiences of daily life afford material only for a chronicle of dulness; and most of the 'strange' or unusual happenings had better be left to the newspaper and the records of the police courts. This statement may be strengthened. Does not the able reporter select and decorate his facts, suppressing some, emphasizing others, arranging his 'story' with reference to picturesqueness and effect?

"In other words, verisimilitude, not verity, is wanted in fiction. The observer notes his facts, and then the artist seizes on the ideas behind them, the types they represent, the spiritual substances they embody.

The result, when all goes well, is as lifelike as life itself, though it is not a copy of anything (in detail) that really lives.... The budding writer of fict.i.tious tales must be familiar with facts, at least in his own range: he must know life and nature, or his work is naught. But when he has this knowledge, he must put the facts in the background of his mind.... Real incidents, dragged against their will into an (alleged) imaginary narrative, are apt by no means to improve it, but to sound as 'flat and untunable' as our own praises from our own mouths."[25]

"There must be no misconception about great fiction being a transcript of life. Mere transcription is not the work of an artist, else we should have no need of painters, for photographers would do; no poems, for academical essays would do; no great works of fiction, for we have our usual sources of information--if information is all we want--the Divorce Court, the Police Court, the Stock Exchange, the Young Ladies' Seminary, the Marriage Register, and the House of Parliament--those happy hunting-grounds of sensation-mongers and purveyors of melodrama. All these things certainly contain the facts of life which one must know for the constructive work of the imagination, for they are the rough material, the background of knowledge from which the illusion of real life must proceed. But they are not life, though they are the transcription of life. The human significance of facts is all that concerns one. The inwardness of facts makes fiction; the history of life, its emotions, its pa.s.sions, its sins, reflections, values. These you cannot photograph nor transcribe. Selection and rejection are two profound essentials of every art, even of the art of fiction, though it be so jauntily practised by the amateur."[26]

And even if the facts which you purpose to use are of undoubted value for artistic treatment, there may be other reasons which make their use questionable. In the first place, people do not really prefer truth to fiction. They require plausibility, but they are all too familiar with life themselves, and in the idle hours in which they turn to fiction they desire to be lifted out of reality into the higher realm of fancy. Nor will they, even in the form of fiction, tolerate what seems like too gross an invasion of the privacy of the home, or the sanct.i.ty of the soul of a man. They must always feel vaguely that the suffering characters are really only puppets created for their amus.e.m.e.nt, or their pity for the characters will develop into anger and disgust for the author.

In using facts, then, the first thing to learn is what to suppress and what to elaborate, and that involves that most necessary possession of the story teller, a sense of proportion. Because a conversation about the weather occupies two dull people for ten minutes is no reason that it should receive an equal number of pages; and because an important event is almost instantaneous is no excuse for pa.s.sing it with a single line. Again, the fact that you are relating what actually occurred does not relieve you of the necessity of making it plausible. Painters acknowledge that there are color combinations in nature which they dare not reproduce, lest they be dubbed unnatural; and similarly things exist which the writer may present only after he has most carefully prepared the way for their credence. The truth is that we have declared that even nature shall conform to certain conventions, and we reject as impossible any deviations from our preconceived ideas.

The facts upon which Hawthorne built "The Ambitious Guest" are these:--The White Hills of which he speaks (-- 1) are the famous White Mountains of New Hamps.h.i.+re; the Notch (-- 1) is the real name of a real mountain pa.s.s, which is just as he describes it; the Flume (-- 22) is a waterfall not far from the Notch; the valley of the Saco (-- 1) is really where he places it. The references to Portland (-- 3), Bartlett (-- 5), Burlington (-- 7), Bethlehem and Littleton (-- 18) are all references to real places in the vicinity. At the point where Hawthorne locates his story there actually was a mountain tavern called the Willey House, and a modern inn stands on the spot to-day. Concerning the catastrophe which he describes I found the following account:

"Some time in June--before the great 'slide' in August, 1826--there came a great storm, and the old veteran, Abel Crawford, coming down the Notch, noticed the trees slipping down, standing upright, and, as he was pa.s.sing Mr. Willey's he called and informed him of the wonderful fact. Immediately, in a less exposed place, Mr. Willey prepared a shelter to which to flee in case of immediate danger; and in the night of August 28th, that year, he was, with his family, awakened by the thundering crash of the coming avalanche. Attempting to escape, that family, nine in number, rushed from the house and were overtaken and buried alive under a vast pile of rocks, earth, trees and water. By a remarkable circ.u.mstance the house remained uninjured, as the slide divided about four rods back of the house (against a high flat rock), and came down on either side with overwhelming power."[27]

The book goes on to state further that the family consisted of the father and mother, five children--the eldest a girl of thirteen--and two hired men. The bodies of the parents, the oldest and youngest children, and the two hired men were found.

It is probable that Hawthorne derived his information from the newspapers, though he may have heard the story by word of mouth, for there is little doubt that he actually visited the spot where the catastrophe occurred. But the bald facts of the case, however gained, are essentially as we have them here, and that is sufficient for our purpose.

In writing his story Hawthorne took several liberties with the facts.

He made no change in the location because even he could not improve upon the scene for such a story. He changed the month from August to September (-- 1) to make plausible, perhaps, the rain necessary for such a slide, and to make seasonable the bitter wind which he introduces. He omitted all names to add to the air of unsolved mystery that haunts the story. He introduced the guest (-- 4) and the grandmother (-- 1), increased the age of the daughter (-- 1), retained the parents and younger children (-- 1) and omitted the hired men to suit the requirements of his story. He omitted the warning but retained the establishment of a place of refuge (-- 9) to heighten the climax. He used the flight from the house (-- 42) because it just suited his purpose. He retained the strange preservation of the house (-- 42) to increase the air of mystery, and to intensify the tragedy by making it appear in a manner unnecessary. He suppressed the finding of any of the bodies (-- 42) to aid the plausibility of his narrative, and to increase the pathos of the guest's death.

Compare carefully the account given by Spaulding and the story of Hawthorne, for you have here an excellent ill.u.s.tration of the difference between the commonplace recital of facts and their transformation into a work of art. Spaulding's relation is a true story, but Hawthorne's is literature.

FOOTNOTES:

[Footnote 20: "Bad Story-Telling," by Frederick M. Bird. _Lippincott's._ Oct., '97.]

[Footnote 21: "Rudimentary Suggestions for Beginners in Story Writing,"

by E. F. Andrews. _Cosmopolitan._ Feb., '97.]

[Footnote 22: "The Art of Fiction." A lecture by Gilbert Parker. _The Critic._ Dec., '98.]

[Footnote 23: "Magazine Fiction and How Not to Write It," by Frederick M. Bird. _Lippincott's._ Nov., '94.]