Short Story Writing, Charles Raymond Barrett [cool books to read .TXT] 📗
- Author: Charles Raymond Barrett
- Performer: -
Book online «Short Story Writing, Charles Raymond Barrett [cool books to read .TXT] 📗». Author Charles Raymond Barrett
So the following week they started for Nettie's home. Guy soon won Mrs. Adams' consent to her daughter's marriage, which was arranged to take place the following September.
"That is the month in which the old apple tree bears its most delicious fruit," Guy whispered to Nettie.
If, however, the author had stopped with the third paragraph, he would have had at least a false or technical climax. This false climax must not be confused with the coincident real climax and abrupt ending discussed further on.
When the climax has come the story has reached its end and the quicker you terminate it the better your reader will be pleased. With the passing of the climax interest ceases, and you have only to gather up and explain the few unsettled points, and round off your narrative gracefully. Any further interest in your characters is little more than a sense of politeness due to old acquaintances; or, at most, a psychological desire for complete impressions. So when you have told your tale, end it.
For the conclusion, as for the beginning, one paragraph is about the average length. The practice differs, of course, with different writers and different stories, but there is not so much variance as in the beginnings. An effective climax often completes a story in the most satisfactory way. In "The Ambitious Guest" Hawthorne employs three paragraphs (¶ 42-44), exclusive of the climax itself, to conclude the story. Each of these three paragraphs contains matter necessary to the completion of the tale in Hawthorne's style. It is probable that a modern writer would have condensed them into a single paragraph, because of the modern demand for extreme compression; but with the possible exception of the last two sentences of ¶ 44 there is nothing irrelevant in the conclusion. In "The Birthmark," and "Young Goodman Brown," Hawthorne uses but a single paragraph for his conclusion.
The conclusion and the climax should be as nearly simultaneous as possible. The present tendency is to make them coincide, and so increase the effect of the climax by making it the actual end of the story, as it is the end of the interest. It is not always that the coincidence can be perfect, but many a story could be cut short immediately after the climax, and be much improved thereby. For example, if Hawthorne had written "The Ambitious Guest" to-day it is probable that he would have ended it with ¶ 44: "The slide! The slide!" Had he done so he would certainly have given additional force to his climax, strong though it is now; and I believe that any reader would have understood perfectly all that is contained in ¶ 42-44. You must be careful, however, in the use of this style of conclusion, lest your supposed climax is merely an abrupt ending—a false climax—which leaves unsettled some things which a further conclusion should make clear. Not every plot allows an abrupt ending, even though it may have a good climax, and you must suit your method to your matter. In any case, the story must convey a complete impression.
But the conclusion must not be padded with irrelevant matter to make it appear rounded, or to please the perverted taste of the writer. The end is allowed scant space and has even less room for sage observations, or pointing of morals, or lamentations over the sins or misfortunes portrayed than have the other parts of the story. In the example already quoted the narrative drags on for some nine paragraphs after the story is really ended, without adding anything of interest or value. Happily such conclusions are infrequent, but the best of writers are occasionally dragged into them through their reluctance to quit forever scenes and people that have grown dear to them through close association. A somewhat similar method of padding out the conclusion to the detriment of the story is to end with a catch word referring to the beginning, as in the following example, where the "blackberry girl" is a reminder of the title:
I hope these few surprises of mine may serve as a lesson to some young man, and help to teach him to prove true to his first love, though she may appear to be only a poor girl—yes, even a "blackberry girl."
Of all poor conclusions the conventional is most to be feared by the novice, for it is surely fatal to the story to which it is attached. If the story is conventional in plot and treatment it is inevitable that its ending should be conventional, so here again we see the necessity of originality of plot. But too often a writer, after having successfully carried his story past the climax, will grow weary or careless and end it with the conventional ideas and phrases which were worn threadbare ages ago.
The inexperienced writer of the gentler sex is peculiarly liable to be guilty of using conventional endings. To her mind, apparently, the chief end of man is marriage, and the proper end of a story is a wedding. It must be acknowledged that this is the only logical conclusion to her stories, for from the moment they appear in the opening paragraphs the reader knows that in the last the hero will marry the heroine, willy nilly, at the behest of the matchmaking "authoress." "To the author, who has suffered with and on account of his characters more intensely than any reader can suffer, there is something amusing in this anxiety to have the old formula, 'And they all lived happy ever afterwards,' repeated at the end of every tale. A tiny bonne bouche of happiness is so inadequate after some stories of sorrow that it seems almost an irony to offer it to the readers; and yet, like children who have taken a bitter medicine, they are very likely to complain that they have had no taste of sweetness, if it is not offered to them.... The common feeling that death is inevitably sad is responsible for much of the stress which is laid upon the endings of books. That, and the belief that people who love each other can have no joy or benefit of life if they must live apart, have set up two formal and arbitrary conditions which a story must fulfil in order to be considered cheerful. The principal characters may go through fire and water if necessary, but they must get rid of their smoke stains and dry their costumes in time to appear alive and smiling in the final chapter; and the hero and the heroine must marry each other, or, if the writer has allowed their affections to wander further afield, they must at least marry the people of their choice. These, of course, are not the standards of the most thoughtful readers, and yet, like all conventionalities, they extend further than an author likes to believe."[43]
The fact is, however, that if real people were constantly thrown at one another's heads so determinedly it would take a stronger power than even the omnipotent literary aspirant to force them into matrimony. Nor are weddings, or descriptions thereof, particularly delectable reading when they desert the society column for the short story. They are usually very much alike—though one original writer did perform her ceremony up a tree—and the bride always wears the same dresses and smiles the same smiles and weeps the same tears. So if you must have a wedding, let the reader off with the classic formula, "And so they were married and lived happily ever after;" but don't inflict on him such cheap sentimentalism as this:
Christmas morning was clear, cold and bright, just such a morning as had marked Fred's first departure from the Blanford's some three years before.
Grace's sisters had come home to take charge of affairs for the day and evening so Grace did not have much to see after but herself. Fred, supposing he would rather be in the way, did not arrive until about an hour before the ceremony was to take place, which was in the evening. A good many guests were invited and as they had already begun to arrive, Grace but barely had time to greet Fred, when she found she must withdraw and don her wedding garment.
If Grace had looked pretty with her gown held up about her a few weeks ago, she now looked handsome indeed as she came into the well crowded room.
Her rich silk gown fell in deep soft folds at her dainty feet. The soft creamy lace fell about her well shaped neck in clusters; the color of the gown made her hair and eyes look black as jet; and the excitement still kept the roses in her cheeks. Fred did not look so handsome, but no one could help admire the manly form as he stood beside Grace answering the questions that were to acknowledge them man and wife.
As soon as the ceremony was over and congratulations had been extended to the bride and groom, they were ushered in to a nicely prepared supper. A merry Christmas evening was spent. Grace's brothers did not lose their housekeeper, as she and Fred made their home with them.
They spent their days not like the hurrying brook, but grasped all the sunshine that was meant for them.
And in general it is much better—better art and better manners—for you to draw the reader politely aside as soon as the heroine has whispered the inevitable "Yes;" for what follows should not be spied upon by any third party.
[42] See "preparation for the climax" in Chapter IX.
[43] "The Problem of Endings," by Mary Tracy Earle. The Book Buyer. Aug. '98.
XI THE STYLEThe method of presentation of the short story is a matter of import. Its very artificiality calls for skilled workmanship; it must be made pleasant and readable by all known devices; its brevity, too, permits and demands a higher finish than is necessary in the novel. And altogether the short story offers a writer who is not exactly a genius a rare chance to show his ability as an artist in words. Hence the question of style is of serious moment.
Style is so much a matter of individuality, and the short story comprises so broad a range of subjects, that it is not easy to lay down general rules concerning the proper style. No two masters would or could treat the same plot in precisely the same way, and yet the method of each would be correct. However, certain generalizations concerning the style of the short story may be made without being arbitrary. As always in literature, the style should be appropriate to the matter. This may seem entirely gratuitous, yet the examination of the work of amateurs will justify the remark. They are apt to treat serious subjects with the most unbecoming levity, and to dress commonplaces in an absurdly ornate style; and at times they so far disregard propriety that they offend against good taste.
The style of the short story should be simple, easy and concise. Usually the matter is not of great moment; it is incidental rather than critical; and it offers little reason for exaggerated expressions, or rotund periods. Above all it should be natural, for the short story, despite its many conventionalities, is very near to nature. The extreme sensationalism affected by many amateurs is most absurd, for nature and things true to nature can never be really sensational—a fact which is unconsciously recognized by the
Comments (0)