Writings in the United Amateur, 1915-1922, H. P. Lovecraft [easy books to read .txt] 📗

1. Appearance, stature, complexion, proportions, features.

2. Most conspicuous feature.

3. Expression.

4. Grace or ugliness.

5. Attire—nature, taste, quality.

6. Habits, attainments, graces, or awkwardnesses.

7. Character—moral and intellectual—place in the community.

8. Notable special qualities.

In considering the preceding synopses, the reader must remember that they are only suggestions, and not for literal use. The extent of any description is to be determined by its place in the composition; by taste and fitness. It should be added, that in fiction description must not be carried to excess. A plethora of it leads to dulness, so that it must ever be balanced by a brisk flow of Narration, which we are about to consider.

Narration is an account of action, or of successive events, either real or imagined; and is therefore the basis both of[122] history and of fiction. To be felicitous and successful, it demands an intelligent exercise of taste and discrimination; salient points must be selected, and the order of time and of circumstances must be well maintained. It is deemed wisest in most cases to give narratives a climactic form; leading from lesser to greater events, and culminating in that chief incident upon which the story is primarily founded, or which makes the other parts important through its own importance. This principle, of course, cannot be literally followed in all historical and biographical narratives.

The essential point of fictional narration is plot, which may be defined as a sequence of incidents designed to awaken the reader's interest and curiosity as to the result. Plots may be simple or complex; but suspense, and climactic progress from one incident to another, are essential. Every incident in a fictional work should have some bearing on the climax or denouement, and any denouement which is not the inevitable result of the preceding incidents is awkward and unliterary. No formal course in fiction-writing can equal a close and observant perusal of the stories of Edgar Allan Poe or Ambrose Bierce. In these masterpieces one may find that unbroken sequence and linkage of incident and result which mark the ideal tale. Observe how, in "The Fall of the House of Usher," each separate event foreshadows and leads up to the tremendous catastrophe and its hideous suggestion. Poe was an absolute master of the mechanics of his craft. Observe also how Bierce can attain the most stirring denouements from a few simple happenings; denouements which develop purely from these preceding circumstances.

In fictional narration, verisimilitude is absolutely essential. A story must be consistent and must contain no event glaringly removed from the usual order of things, unless that event is the main incident, and is approached with the most careful preparation. In real life, odd and erratic things do occasionally happen; but they are out of place in an ordinary story, since fiction is a sort of idealization of the average. Development should be as lifelike as possible, and a weak, trickling conclusion should be assiduously avoided. The end of a story must be stronger rather than weaker than the beginning; since it is the end which contains the denouement or culmination, and which will leave the strongest impression upon the reader. It would not be amiss for the novice to write the last paragraph of his story first, once a synopsis of the plot has been carefully prepared—as it always should be. In this way he will be able to concentrate his freshest mental vigour upon the most important part of his narrative; and if any changes be later found needful, they can easily be made. In no part of a narrative should a grand or emphatic thought or passage be followed by one of tame or prosaic quality. This is anticlimax, and exposes a writer to much ridicule. Notice the absurd effect of the following couplet—which was, however, written by no less a person than Waller: