Short Story Writing, Charles Raymond Barrett [cool books to read .TXT] 📗

[30] "The Day of Dialect," by T. C. De Leon. Lippincott's. Nov., '97.

Not only must you have a story to tell, but you must tell it well. The charm and interest of a story come not from the plot itself but from your handling of it. The question of the proper method of narration is to a considerable extent a matter of suitability—of giving the narrative an appropriate setting; it is also a matter of the point of view of the narrator—whether he is to tell the story as one of the actors, or simply as an impersonal observer. A dozen master story writers would tell the same tale in a dozen different ways, and each of them would seem to be the right way; for each writer would view the events from a particular angle, and would make his point of view seem the natural one. But the novice is not always happy in his choice of a view point; or rather, he lacks the knowledge and experience that would teach him how to treat his subject from the particular side from which he has chosen to consider it. Yet a capable and clever writer may sometimes find himself puzzled to choose between a number of methods, any one of which seems appropriate and any one of which he feels himself competent to handle satisfactorily: the question is which one will be for him the most successful method of exploiting his thoughts.

That question should be settled with regard to the suitability of the method to the matter of the story—and here suitability is synonymous with naturalness. It must not be forgotten that story writing is only a modern phase of the world-old custom of story telling, and that the printed page should appear as natural and easy to the eye as the voice would to the ear. When in the twilight the grandmother gathers the children about her knee for a story, whether it be a bit of her own life or a tale from a book, she does not strive after effect, but tells the story simply and naturally, just as she knows it will best suit the children. And so the story writer should tell his tale—so naturally and easily that the reader will forget that he is gazing at the printed page, and will believe himself a spectator at an actual scene in real life.

The great difficulty of the novice is to subordinate his own personality. He knows that he must individualize his story, and that that is best done by putting something of himself into it; and he does not always understand that it is only his spirit that is wanted, and that his body will be very much in the way. Then, too, he is apt to be a little self-conscious, if not actually self-conceited, and he rather likes the idea of putting himself into his work so thoroughly that the reader must always be conscious of his presence. He likes to show his superior knowledge and to take the reader into his confidence; so he indulges in side remarks, and criticisms, and bits of moralizing, and in general exhibits an exasperating tendency to consider himself and his personal opinion of far greater importance than the story which he is expected to tell.

But above all things else the author must keep himself out of sight, and must refrain from interpolating his opinions. He is supposed to be an impersonal person, a human machine through the medium of which the story is preserved, and he has no proper place in his narrative. One no more expects or desires a speech from him than a sermon from a penny-in-the-slot phonograph which has been paid for a comic song. He may stand behind the scenes and manipulate the puppets and speak for them, but his hand must be unseen, his voice carefully disguised, and his personality imperceptible; no one cares for the man who makes the Punch and Judy show—he is judged by the success of his imitation of life, and his own appearance will speedily disillusionize his public. Every time you address your public as "dear reader," "gentle reader,"—or, as Mark Twain has it, "savage reader"—you force upon that public a realization of your presence which is as disagreeable and inartistic as the appearance of the Punch and Judy man, hat in hand, seeking a few coppers in payment of the amusement he has provided.

In the short story no personal confidences, moralizing comments, or confessions are allowed. If you must express your opinions and make your personality felt, write lectures, sermons, essays, books, letters for the public press—but don't write short stories. Men read short stories to be amused, not instructed; and they will quickly revolt at any attempt on your part to introduce into your narrative a sugar-coated argument or sermon.

There are certain methods of story telling much affected by the amateur which are particularly difficult to do well. He should especially eschew stories related in the first person, those told by letters, and those in the form of a diary. Notice, I do not say that these methods are absolutely bad: they have been successfully used by masters; but they are at least questionable, and they contain so many pitfalls for the unwary that it is far better for the uninitiated to let them severely alone.

Narrative in the first person gives a certain realism through the mere use of the pronoun "I," and so excites some measure of the desired personal interest; but the same result may be secured, without the accompanying disadvantages, by making the characters do a good deal of talking. That method escapes the danger of getting the narrator between the story and the reader; for the puppet who "I's" his way through the narrative is apt to be rather an important fellow, who intrudes on the most private scenes, and who prefers moralizing and philosophizing to the legitimate furthering of the plot; thus he runs no small risk of making himself unpopular with the reader, and so proving of detriment to the success of the story and of the author.

Then, too, when the author is speaking in his own proper person the reader cannot help wondering at times how one man could know so much about what was going on, even if he were a veritable Paul Pry; while we have become so used to granting the omniscience and omnipresence of the invisible third person author that we never question his knowledge. If, however, the hero-narrator attempt natural modesty and profess to but slight information concerning the story, he is usually a most dull and uninteresting fellow, who is endeavoring to relate a matter of which he has missed the most essential parts. And at all times, though he be a model in all other respects, the very fact that the hero is telling the story lessens its interest, since no matter what harrowing experiences he has suffered, he has come safely through; thus the narrative lacks that anxiety for the hero's welfare which is so large a factor in the delights of fiction.

"It (first person narrative) is better adapted, no doubt, to adventure than to analysis, and better to the expression of humour than to the realization of tragedy. As far as the presentation of character is concerned, what it is usual for it to achieve ... is this: a life size, full length, generally too flattering portrait of the hero of the story—a personage who has the limelight all to himself—on whom no inconvenient shadows are ever thrown; ... and then a further graceful idealization, an attractive pastel, you may call it, the lady he most frequently admired, and, of the remainder, two or three