Read Like A Writer

There are two ways to learn how to write fiction: by reading it and by writing it. Yes, you can learn lots about writing stories in workshops, in writing classes and writing groups, at writers' conferences. You can learn technique and process by reading the dozens of books like this one on fiction writing and by reading articles in writers' magazines. But the best teachers of fiction are the great works of fiction themselves. You can learn more about the structure of a short story by reading Anton Chekhov's 'Heartache' than you can in a semester of Creative Writing 101. If you read like a writer, that is, which means you have to read everything twice, at least. When you read a story or novel the first time, just let it happen. Enjoy the journey. When you've finished, you know where the story took you, and now you can go back and reread, and this time notice how the writer reached that destination. Notice the choices he made at each chapter, each sentence, each word. (Every word is a choice.) You see now how the transitions work, how a character gets across a room. All this time you're learning. You loved the central character in the story, and now you can see how the writer presented the character and rendered her worthy of your love and attention. The first reading is creative—you collaborate with the writer in making the story. The second reading is critical.


John Dufresne, from his book, The Lie That Tells A Truth: A Guide to Writing Fiction

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Saturday, December 17, 2022

The Luck of Roaring Camp by Bret Harte

 

The Luck of Roaring Camp
 
by Bret Harte

There was commotion in Roaring Camp. It could not have been a fight, for in 1850 that was not novel enough to have called together the entire settlement. The ditches and claims were not only deserted, but "Tuttle's grocery" had contributed its gamblers, who, it will be remembered, calmly continued their game the day that French Pete and Kanaka Joe shot each other to death over the bar in the front room. The whole camp was collected before a rude cabin on the outer edge of the clearing. Conversation was carried on in a low tone, but the name of a woman was frequently repeated. It was a name familiar enough in the camp - "Cherokee Sal."

     Perhaps the less said of her the better. She was a coarse and, it is to be feared, a very sinful woman. But at that time she was the only woman in Roaring Camp, and was just then lying in sore extremity, when she most needed the ministration of her own sex. Dissolute, abandoned, and irreclaimable, she was yet suffering a martyrdom hard enough to bear even when veiled by sympathizing womanhood, but now terrible in her loneliness. The primal curse had come to her in that original isolation which must have made the punishment of the first transgression so dreadful. It was, perhaps, part of the expiation of her sin that, at a moment when she most lacked her sex's intuitive tenderness and care, she met only the half-contemptuous faces of her masculine associates. Yet a few of the spectators were, I think, touched by her sufferings. Sandy Tipton thought it was "rough on Sal," and, in the contemplation of her condition, for a moment rose superior to the fact that he had an ace and two Bowers in his sleeve.

     It will be seen also that the situation was novel. Deaths were by no means uncommon in Roaring Camp, but a birth was a new thing. People had been dismissed from the camp effectively, finally, and with no possibility of return; but this was the first time that anybody had been introduced ab initio. Hence the excitement.

     "You go in there, Stumpy," said a prominent citizen known as "Kentuck," addressing one of the loungers. "Go in there, and see what you kin do. You've had experience in them things."

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     Perhaps there was a fitness in the selection. Stumpy, in other climes, had been the putative head of two families; in fact, it was owing to some legal informality in these proceedings that Roaring Camp - a city of refuge - was indebted to his company. The crowd approved the choice, and Stumpy was wise enough to bow to the majority. The door closed on the extempore surgeon and midwife, and Roaring Camp sat down outside, smoked its pipe, and awaited the issue.

     The assemblage numbered about a hundred men. One or two of these were actual fugitives from justice, some were criminal, and all were reckless. Physically they exhibited no indication of their past lives and character. The greatest scamp had a Raphael face, with a profusion of blonde hair; Oakhurst, a gambler, had the melancholy air and intellectual abstraction of a Hamlet; the coolest and most courageous man was scarcely over five feet in height, with a soft voice and an embarrassed, timid manner. The term "roughs" applied to them was a distinction rather than a definition. Perhaps in the minor details of fingers, toes, ears, etc., the camp may have been deficient, but these slight omissions did not detract from their aggregate force. The strongest man had but three fingers on his right hand; the best shot had but one eye.

     Such was the physical aspect of the men that were dispersed around the cabin. The camp lay in a triangular valley between two hills and a river. The only outlet was a steep trail over the summit of a hill that faced the cabin, now illuminated by the rising moon. The suffering woman might have seen it from the rude bunk whereon she lay, seen it winding like a silver thread until it was lost in the stars above.

     A fire of withered pine boughs added sociability to the gathering. By degrees the natural levity of Roaring Camp returned. Bets were freely offered and taken regarding the result. Three to five that "Sal would get through with it;" even that the child would survive; side bets as to the sex and complexion of the coming stranger. In the midst of an excited discussion an exclamation came from those nearest the door, and the camp stopped to listen. Above the swaying and moaning of the pines, the swift rush of the river, and the crackling of the fire rose a sharp, querulous cry - a cry unlike anything heard before in the camp. The pines stopped moaning, the river ceased to rush, and the fire to crackle. It seemed as if Nature had stopped to listen too.

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     The camp rose to its feet as one man! It was proposed to explode a barrel of gunpowder; but in consideration of the situation of the mother, better counsels prevailed, and only a few revolvers were discharged; for whether owing to the rude surgery of the camp, or some other reason, Cherokee Sal was sinking fast. Within an hour she had climbed, as it were, that rugged road that led to the stars, and so passed out of Roaring Camp, its sin and shame, forever. I do not think that the announcement disturbed them much, except in speculation as to the fate of the child. "Can he live now?" was asked of Stumpy. The answer was doubtful. The only other being of Cherokee Sal's sex and maternal condition in the settlement was an ass. There was some conjecture as to fitness, but the experiment was tried. It was less problematical than the ancient treatment of Romulus and Remus, and apparently as successful.

     When these details were completed, which exhausted another hour, the door was opened, and the anxious crowd of men, who had already formed themselves into a queue, entered in single file. Beside the low bunk or shelf, on which the figure of the mother was starkly outlined below the blankets, stood a pine table. On this a candle-box was placed, and within it, swathed in staring red flannel, lay the last arrival at Roaring Camp. Beside the candle-box was placed a hat. Its use was soon indicated.

     "Gentlemen," said Stumpy, with a singular mixture of authority and ex officio complacency, "gentlemen will please pass in at the front door, round the table, and out at the back door. Them as wishes to contribute anything toward the orphan will find a hat handy."

     The first man entered with his hat on; he uncovered, however, as he looked about him, and so unconsciously set an example to the next. In such communities good and bad actions are catching. As the procession filed in comments were audible - criticisms addressed perhaps rather to Stumpy in the character of showmen: "Is that him?" "Mighty small specimen;" "Hasn't more'n got the color;" "Ain't bigger nor a derringer." The contributions were as characteristic: A silver tobacco box; a doubloon; a navy revolver, silver mounted; a gold specimen; a very beautifully embroidered lady's handkerchief (from Oakhurst the gambler); a diamond breastpin; a diamond ring (suggested by the pin, with the remark from the giver that he "saw that pin and went two diamonds better"); a slung-shot; a Bible (contributor not detected); a golden spur; a silver teaspoon (the initials, I regret to say, were not the giver's); a pair of surgeon's shears; a lancet; a Bank of England note for £5; and about $200 in loose gold and silver coin. During these proceedings Stumpy maintained a silence as impassive as the dead on his left, a gravity as inscrutable as that of the newly born on his right. Only one incident occurred to break the monotony of the curious procession. As Kentuck bent over the candle-box half curiously, the child turned, and, in a spasm of pain, caught at his groping finger, and held it fast for a moment. Kentuck looked foolish and embarrassed. Something like a blush tried to assert itself in his weather-beaten cheek.

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     "The d-d little cuss!" he said, as he extricated his finger, with perhaps more tenderness and care than he might have been deemed capable of showing. He held that finger a little apart from its fellows as he went out, and examined it curiously. The examination provoked the same original remark in regard to the child. In fact, he seemed to enjoy repeating it. "He rastled with my finger," he remarked to Tipton, holding up the member, "the d-d little cuss!"

     It was four o'clock before the camp sought repose. A light burnt in the cabin where the watchers sat, for Stumpy did not go to bed that night. Nor did Kentuck. He drank quite freely, and related with great gusto his experience, invariably ending with his characteristic condemnation of the newcomer. It seemed to relieve him of any unjust implication of sentiment, and Kentuck had the weaknesses of the nobler sex. When everybody else had gone to bed, he walked down to the river and whistled reflectingly. Then he walked up the gulch past the cabin, still whistling with demonstrative unconcern. At a large redwood-tree he paused and retraced his steps, and again passed the cabin. Halfway down to the river's bank he again paused, and then returned and knocked at the door. It was opened by Stumpy.

     "How goes it?" said Kentuck, looking past Stumpy toward the candle-box.

     "All serene!" replied Stumpy. "Anything up?"

     "Nothing." There was a pause - an embarrassing one -Stumpy still holding the door. Then Kentuck had recourse to his finger, which he held up to Stumpy. "Rastled with it - the d-d little cuss," he said, and retired.

     The next day Cherokee Sal had such rude sepulture as Roaring Camp afforded. After her body had been committed to the hillside, there was a formal meeting of the camp to discuss what should be done with her infant. A resolution to adopt it was unanimous and enthusiastic. But an animated discussion in regard to the manner and feasibility of providing for its wants at once sprang up. It was remarkable that the argument partook of none of those fierce personalities with which discussions were usually conducted at Roaring Camp. Tipton proposed that they should send the child to Red Dog - a distance of forty miles - where female attention could be procured. But the unlucky suggestion met with fierce and unanimous opposition. It was evident that no plan which entailed parting from their new acquisition would for a moment be entertained. "Besides," said Tom Ryder, "them fellows at Red Dog would swap it, and ring in somebody else on us." A disbelief in tlhe honesty of other camps prevailed at Roaring Camp, as in other places.

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     The introduction of a female nurse in the camp also met with objection. It was argued that no decent woman could be prevailed to accept Roaring Camp as her home, and the speaker urged that "they didn't want any more of the other kind."

     This unkind allusion to the defunct mother, harsh as it may seem, was the first spasm of propriety - the first symptom of the camp's regeneration. Stumpy advanced nothing. Perhaps he felt a certain delicacy in interfering with the selection of a possible successor in office. But when questioned, he averred stoutly that he and "Jinny" - the mammal before alluded to - could manage to rear the child. There was something original, independent, and heroic about the plan that pleased the camp. Stumpy was retained. Certain articles were sent for to Sacramento. "Mind," said the treasurer, as he pressed a bag of gold-dust into the expressman's hand, "the best that can be got, lace, you know, and filigree-work and frills - d--n the cost! "

     Strange to say, the child thrived. Perhaps the invigorating climate of the mountain camp was compensation for material deficiencies. Nature took the foundling to her broader breast. In that rare atmosphere of the Sierra foothills - that air pungent with balsamic odor, that ethereal cordial at once bracing and exhilarating - he may have found food and nourishment, or a subtle chemistry that transmuted ass's milk to lime and phosphorus. Stumpy inclined to the belief that it was the latter and good nursing. "Me and that ass," he would say, "has been father and mother to him! Don't you," he would add, apostrophizing the helpless bundle before him, "never go back on us."

     By the time he was a month old the necessity of giving him a name became apparent. He had generally been known as "The Kid," "Stumpy's Boy," "The Coyote" (an allusion to his vocal powers), and even by Kentuck's endearing diminutive of "The d-d little cuss." But these were felt to be vague and unsatisfactory, and were at last dismissed under another influence. Gamblers and adventurers are generally superstitious, and Oakhurst one day declared that the baby had brought "the luck" to Roaring Camp. It was certain that of late they had been successful. "Luck" was the name agreed upon, with the prefix of Tommy for greater convenience. No allusion was made to the mother, and the father was unknown. "It's better," said the philosophical Oakhurst, "to take a fresh deal all round. Call him Luck, and start him fair." A day was accordingly set apart for the christening.

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     What was meant by this ceremony the reader may imagine who has already gathered some idea of the reckless irreverence of Roaring Camp. The master of ceremonies was one "Boston," a noted wag, and the occasion seemed to promise the greatest facetiousness. This ingenious satirist had spent two days in preparing a burlesque of the Church service, with pointed local allusions. The choir was properly trained, and Sandy Tipton was to stand godfather. But after the procession had marched to the grove with music and banners, and the child had been deposited before a mock altar, Stumpy stepped before the expectant crowd. "It ain't my style to spoil fun, boys," said the little man, stoutly eyeing the faces around him, "but it strikes me that this thing ain't exactly on the squar. It's playing it pretty low down on this yer baby to ring in fun on him that he ain't goin' to understand. And ef there's goin' to be any godfathers round, I'd like to see who's got any better rights than me."

     A silence followed Stumpy's speech. To the credit of all humorists be it said that the first man to acknowledge its justice was the satirist thus stopped of his fun. "But," said Stumpy, quickly following up his advantage, "we're here for a christening, and we'll have it. I proclaim you Thomas Luck, according to the laws of the United States and the State of California, so help me God."

     It was the first time that the name of the Deity had been otherwise uttered than profanely in the camp. The form of christening was perhaps even more ludicrous than the satirist had conceived; but strangely enough, nobody saw it and nobody lalghed. "Tommy" was christened as seriously as he would have been under a Christian roof, and cried and was comforted in as orthodox fashion.

     And so the work of regeneration began in Roaring Camp. Almost imperceptibly a change came over the settlement. The cabin assigned to "Tommy Luck" - or "The Luck," as he was more frequently called - first showed signs of improvement. It was kept scrupulously clean and whitewashed. Then it was boarded, clothed, and papered. The rosewood cradle, packed eighty miles by mule, had, in Stumpy's way of putting it, "sorter killed the rest of the furniture." So the rehabilitation of the cabin became a necessity. The men who were in the habit of lounging in at Stumpy's to see "how 'The Luck' got on" seemed to appreciate the change, and in self-defense the rival establishment of "Tuttle's grocery " bestirred itself and imported a carpet and mirrors. The reflections of the latter on the appearance of Roaring Camp tended to produce stricter habits of personal cleanliness. Again Stumpy imposed a kind of quarantine upon those who aspired to the honor and privilege of holding The Luck. It was a cruel mortification to Kentuck - who, in the carelessness of a large nature and the habits of frontier life, had begun to regard all garments as a second cuticle, which, like a snake's, only sloughed off through decay - to be debarred this privilege from certain prudential reasons. Yet such was the subtle influence of innovation that he thereafter appeared regularly every afternoon in a clean shirt and face still shining from his ablutions.

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     Nor were moral and social sanitary laws neglected. "Tommy," who was supposed to spend his whole existence in a persistent attempt to repose, must not be disturbed by noise. The shouting and yelling, which had gained the camp its infelicitous title, were not permitted within hearing distance of Stumpy's. The men conversed in whispers or smoked with Indian gravity. Profanity was tacitly given up in these sacred precincts, and throughout the camp a popular form of expletive, known as " D--n the luck!" and "Curse the luck! " was abandoned, as having a new personal bearing.

     Vocal music was not interdicted, being supposed to have a soothing, tranquilizing quality; and one song, sung by " Man-o'War Jack," an English sailor from her Majesty's Australian colonies, was quite popular as a lullaby. It was a lugubrious recital of the exploits of "the Arethusa, Seventy-four," in a muffled minor, ending with a prolonged dying fall at the burden of each verse, " On b-oo-o-ard of the Arethusa." It was a fine sight to see Jack holding The Luck, rocking from side to side as if with the motion of a ship, and crooning forth this naval ditty. Either through the peculiar rocking of Jack or the length of his song -it contained ninety stanzas, and was continued with conscientious deliberation to the bitter end - the lullaby generally had the desired effect. At such times the men would lie at full length under the trees in the soft summer twilight, smoking their pipes and drinking in the melodious utterances. An indistinct idea that this was pastoral happiness pervaded the camp. "This'ere kind o' think," said the Cockney Simmons, meditatively reclining on his elbow, "is 'evingly." It reminded him of Greenwich.

     On the long sumrmer days The Luck was usually carried to the gulch from whence the golden store of Roaring Camp was taken. There, on a blanket spread over pine boughs, he would lie while the men were working in the ditches below. Latterly there was a rude attempt to decorate this bower with flowers and sweet-smelling shrubs, and generally someone would bring him a cluster of wild honeysuckles, azaleas, or the painted blossoms of Las Mariposas. The men had suddenly awakened to the fact that there were beauty and significance in these trifles, which they had so long trodden carelessly beneath their feet. A flake of glittering mica, a fragment of variegated quartz, a bright pebble from the bed of the creek, became beautiful to eyes thus cleared and strengthened, and were invariably put aside for The Luck. It was wonderful how many treasures the woods and hillsides yielded that "would do for Tommy."

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     Surrounded by playthings such as never child out of fairyland had before, it is to be hoped that Tommy was content. He appeared to be serenely happy, albeit there was an infantine gravity about him, a contemplative light in his round gray eyes, that sometimes worried Stumpy. He was always tractable and quiet, and it is recorded that once, having crept beyond his "corral," - a hedge of tessellated pine boughs, which surrounded his bed - he dropped over the bank on his head in the soft earth, and remained with his mottled legs in the air in that position for at least five minutes with unflinching gravity. He was extricated without a murmur. I hesitate to record the many other instances of his sagacity, which rest, unfortunately, upon the statements of prejudiced friends. Some of them were not without a tinge of superstition.

     "I crep' up the bank just now," said Kentuck one day, in a breathless state of excitement, "and dern me kin - if he wasn't a-talking to a jaybird as was a-sittin' on his lap. There they was, just as free and sociable as anything you please, a-jawin' at each other just like two cherrybums." Howbeit, whether creeping over the pine boughs or lying lazily on his back blinking at the leaves above him, to him the birds sang, the squirrels chattered, and the flowers bloomed. Nature was his nurse and playfellow. For him she would let slip between the leaves golden shafts of sunlight that fell just within his grasp; she would send wandering breezes to visit him with the balm of bay and resinous gum; to him the tall redwoods nodded familiarly and sleepily, the bumblebees buzzed, and the rooks cawed a slumbrous accompaniment.

     Such was the golden summer of Roaring Camp. They were "flush times," and the luck was with them. The claims had yielded enormously. The camp was jealous of its privileges and looked suspiciously on strangers. No encouragement was given to immigration, and, to make their seclusion more perfect, the land on either side of the mountain wall that surrounded the camp they duly preempted. This, and a reputation for singular proficiency with the revolver, kept the reserve of Roaring Camp inviolate. The expressman - their only connecting link with the surrounding world - sometimes told wonderful stories of the camp. He would say, "They've a street up there in 'Roaring' that would lay over any street in Red Dog. They've got vines and flowers round their houses, and they wash themselves twice a day. But they're mighty rough on strangers, and they worship an Ingin baby."

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     With the prosperity of the camp came a desire for further improvement. It was proposed to build a hotel in the following spring, and to invite one or two decent families to reside there for the sake of The Luck, who might perhaps profit by female companionship. The sacrifice that this concession to the sex cost these men, who were fiercely skeptical in regard to its general virtue and usefulness, can only be accounted for by their affection for Tommy. A few still held out. But the resolve could not be carried into effect for three months, and the minority meekly yielded in the hope that something might turn up to prevent it. And it did.

     The winter of 1851 will long be remembered in the foothills. The snow lay deep on the Sierras, and every mountain creek became a river, and every river a lake. Each gorge and gulch was transformed into a tumultuous watercourse that descended the hillsides, tearing down giant trees and scattering its drift and dedbris along the plain. Red Dog had been twice under water, and Roaring Camp had been forewarned. "Water put the gold into them gulches," said Stumpy. "It's been here once and will be here again!" And that night the North Fork suddenly leaped over its banks and swept up the triangular valley of Roaring Camp.

     In the confusion of rushing water, crashing trees, and crackling timber, and the darkness which seemed to flow with the water and blot out the fair valley, but little could be done to collect the scattered camp. When the morning broke, the cabin of Stumpy, nearest the river-bank, was gone. Higher up the gulch they found the body of its unlucky owner; but the pride, the hope, the joy, The Luck, of Roaring Camp had disappeared. They were returning with sad hearts when a shout from the bank recalled them.

     It was a relief-boat from down the river. They had picked up, they said, a man and an infant, nearly exhausted, about two miles below. Did anybody know them, and did they belong here?

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     It needed but a glance to show them Kentuck lying there, cruelly crushed and bruised, but still holding The Luck of Roaring Camp in his arms. As they bent over the strangely assorted pair, they saw that the child was cold and pulseless. "He is dead!" said one. Kentuck opened his eyes. "Dead?" he repeated feebly. "Yes, my man, and you are dying too." A smile lit the eyes of the expiring Kentucky "Dying!" he repeated; "he's a-taking me with him. Tell the boys I've got The Luck with me now;" and the strong man, clinging to the frail babe as a drowning man is said to cling to a straw, drifted away into the shadowy river that flows forever to the unknown sea.

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Friday, December 16, 2022

The Tell-Tale Heart by Edgar Allan Poe

Edgar Allan Poe at Amazon

 
Illustration by Harry Clarke

Thursday, December 15, 2022

Human Beings are Story-Telling Animals

Human Beings are Story-Telling Animals

Human beings are story-telling animals. Literary study necessarily confronts us with the richness of human experiences, helping us to appreciate common values and the differences between those experiences across cultures, places, and times. Literature shows the design of the creative process, allowing us to interpret the deep motivations of human minds and societies—both in the past and today.

 

Literature Quotes


Literature adds to reality, it does not simply describe it. It enriches the necessary competencies that daily life requires and provides; and in this respect, it irrigates the deserts that our lives have already become.

C. S. Lewis



Literature is the art of discovering something extraordinary about ordinary people, and saying with ordinary words something extraordinary.

Boris Pasternak



The decline of literature indicates the decline of a nation.

Johann Wolfgang von Goethe



Literature is strewn with the wreckage of men who have minded beyond reason the opinions of others.

Virginia Woolf



Literature does not exist in a vacuum. Writers as such have a definite social function exactly proportional to their ability as writers. This is their main use.

Ezra Pound



Black literature is taught as sociology, as tolerance, not as a serious, rigorous art form.

Toni Morrison



Books are the carriers of civilization. Without books, history is silent, literature dumb, science crippled, thought and speculation at a standstill.

Barbara W. Tuchman



Literature is my Utopia. Here I am not disenfranchised. No barrier of the senses shuts me out from the sweet, gracious discourses of my book friends. They talk to me without embarrassment or awkwardness.

Helen Keller



There is in fact no such thing as art for art's sake, art that stands above classes, art that is detached from or independent of politics. Proletarian literature and art are part of the whole proletarian revolutionary cause.

Mao Zedong



What is wonderful about great literature is that it transforms the man who reads it towards the condition of the man who wrote.

E. M. Forster



Literature overtakes history, for literature gives you more than one life. It expands experience and opens new opportunities to readers.

Carlos Fuentes



Writers are historians, too. It is in literature that the greater truths about a people and their past are found.

F. Sionil Jose



Ultimately, literature is nothing but carpentry. With both you are working with reality, a material just as hard as wood.

Gabriel Garcia Marquez



We shall suffer no attachment to literature, no taste for abstract discussion, no love of purely intellectual theories, to seduce us from our devotion to the cause of the oppressed, the down trodden, the insulted and injured masses of our fellow men.

George Ripley

 

From the beginnings of literature, poets and writers have based their narratives on crossing borders, on wandering, on exile, on encounters beyond the familiar. The stranger is an archetype in epic poetry, in novels. The tension between alienation and assimilation has always been a basic theme.

Jhumpa Lahiri

Wednesday, December 14, 2022

The Short Story in English by Henry Seidel Canby, 1878-1961 (PDF)

The Short Story in English  by Henry Seidel Canby, 1878-1961 (PDF)

The Short Story in English

by Henry Seidel Canby, 1878-1961 (PDF)

 

Overview

From the Introduction.

I PROPOSE in the following pages to discuss the practice of the short story in English.

The vagueness of the term "short story" is apparent. No less apparent is the existence, in every literature and period, of groups of narratives which we can call by no other name. The literatures of ancient Greece, of Buddhistic India, of medieval France and Arabia—for each of them readers will bring to mind a well-marked, well-recognized genre which to-day we should put under the short story classification. The fable, the Milesian story, the birth-story of the Jatakas, the fabliau and conte—each name suggests a type of literary expression employed for very definite purposes. As writers or readers named the sonnet, the ballade, the chanson, so they named these varieties of short narrative, and felt, with more or less reason, that in each case man was endeavoring to express his idea of life in a particular and chosen fashion.

If we feel the vagueness of "short story," as used in a historical review of our narrative literature, it is not because there are no short stories which, in the age of their birth, were employed in literary work of a special nature. We would scarcely think the words vague if nothing definite were to be named by them! Nor is it because of the impossibility of marking off from long narrative the short narrative which is to be given a name. That difficulty is serious only for the rhetorician. The fault is rather in the loose meaning of the phrase, where "short" seems to qualify without defining. We cannot escape this inconvenience except by creating a new terminology, a task far less profitable than the study of a considerable and much neglected literature. Indeed, Just what has constituted the " short story " in English? is a question better answered at the end than at the beginning of such an investigation.

Nevertheless, it is evident, without further discussion, that the writers, who, in many tongues and times, have used a short narrative to convey their ideas, are, in one respect, very often alike. No matter what their subject-matter may be, morality, indecency, high imagination, or human nature, they have wished to procure a certain effect which could best be gained by a short story. They have wished to turn a moral, as in a fable, or to bring home, in a fabliau, an amusing reflection upon life, or to depict a situation, as in the typical short story of to-day, and in every case a brief narrative, with its one unified impression, best served them. It is the short narrative used for lifeunits, where only brevity and the consequent unified impression would serve, that becomes the short story. Is this definition sufficient? Only a study of a given literature will show. If it will work, as the pragmatists say, it is sufficient. But, in so working, it is neither requisite nor possible that hard and fast lines of division should result. Where to place many whitish-yellow and yellowish-white peoples is a problem for anthropologists. Yet we call the very black man negro without hesitation.

Certain limitations, however, must be imposed at the outset. Plots, circulating through every tongue, are often independent of strictly literary or cultural movements.

We, however, must concern ourselves primarily with written literature. It is the history and development of an art which we follow, an art by means of which all manner of familiar experiences can be put into form and made marketable. Plots circulate in all ways. Their history is matter for folk-lore and psychology. It is the short story as it appears in recorded English literature, and the growth of its usefulness therein, which is the subject of this volume....

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Tuesday, December 13, 2022

The Art of Story Writing : Facts and Information about Literary Work of Practical Value of Both Amateur and Professional Writers by Nathaniel Clark Fowler Jr. (PDF)

The Art of Story Writing : Facts and Information about Literary Work of Practical Value of Both Amateur and Professional Writers by Nathaniel Clark Fowler
 

 The Art of Story Writing : Facts and Information about Literary Work of Practical Value of Both Amateur and Professional Writers


by Nathaniel Clark Fowler Jr.


A WORD AT THE START

The writing of stories of every class and of any length, and of every kind of literature, whether or not published in book form, is a distinct art or profession, may be considered as a trade, and cannot be accurately weighed or measured unless subject to both ethical and commercial consideration.

To refuse to discuss the making of literature commercially, or from a business point of view, would be unfair and unprofitable.

It is obvious that the majority of writers con- sider their pens as remunerative tools, and that they produce literature, or what resembles it, not wholly for fame and for the good that they may do, but because of the money received, or expected, from their work.

The making and marketing of literature, then, are not removed wholly from the rules or laws which govern the manufacture of a commodity. If literature was not a commodity, in some sense, at least, it would not have a market and be paid for. Any analysis of it, therefore, must take into account its commercial or trade value.

In this country, many thousands of men and women depend entirely upon their pens for a livelihood, and ten times as many thousand write wholly for fame or for the good they can do, with or without expectation of receiving a financial return.

Several books have been written claiming to contain rules, regulations, or instructions for the writing of every class of literature. While none of these books are valueless, I think that most of them are altogether too technical, and that some of them pretend to do the impossible.

One may receive specific instructions in stenography, typewriting, book-keeping, and other concrete work, depending upon experience for proficiency ; but it is difiicult, if not impossible, to tell any one how to write so that he may become proficient in this art largely from the instructions given.

I do not believe that it is possible for any one, not even an experienced writer, to impart an actual working knowledge of composition, which will be of more than preliminary benefit to the reader.

Instead of loading this book with instructions, and attempting to tell the would-be writer what to do and what not to do, or to build a frame which he may use as a model, I have devoted many of my pages to the giving of information which I hope will not fail to assist the reader.

I am entirely unbiased, and have no ax to grind at the reader's expense. I am telling him the truth as I see it, and am using the eyes of others as well as my own.

Personal opinion, even if given by an expert, has little value, unless it is based upon the composite.

What I have said, then, is of the little I know, combined with the much which I think I know about what others know.

I have attempted neither to skim the surface, nor to bore into the depths. Rather, I have chosen to present typographical pictures of literary fact, starting at the beginning and ending at the result.



CONTENTS

A WORD AT THE START

CHAPTER I
Entering a Literary Career   1

CHAPTER II
The Writing of Novels 6

CHAPTER III
The Writing of a Short Story   20

CHAPTER IV
The Story of Adventure 28

CHAPTER V
The Mystery Story 31

CHAPTER VI
The Detective Story 33

CHAPTER VII
Stories for Children 35

CHAPTER VIII
Humorous Writing 39

CHAPTER IX
Special Stories or Articles 45

CHAPTER X
The Writing of Poetry  47

CHAPTER XI
Play Writing 58

CHAPTER XII
Motion-Picture Plays. 84

CHAPTER XIII
The Name of a Book or Story.  87

CHAPTER XIV
Literary Schools 91

CHAPTER XV
Literary Agencies or Bureaus  94

CHAPTER XVI
The Preparation of a Manuscript  98

CHAPTER XVII
Manuscript Paper 108

CHAPTER XVIII
Copying Manuscripts 110

CHAPTER XVIII:
The Number of Words in a Manuscript  118

CHAPTER XX
Revising Manuscripts 115

CHAPTER XXI
How To Send a Manuscript 120
 
CHAPTER XXII

Rejected Manuscripts 126

CHAPTER XXIII
The Size of a Book 129

CHAPTER XXIV
The Number of Words in a Book  188

CHAPTER XXV

How A Manuscript is Received and Handled
By a Book Publisher 186

CHAPTER XXVI
Terms for the Publication of Books  148

CHAPTER XXVII
Contracts with Book Publishers  149

CHAPTER XXVIII
Disreputable Publishers  168

CHAPTER XXIX
Copyrighting   172

CHAPTER XXX
Quoting from Copyrighted Matter   177

CHAPTER XXXI
The Danger of Libel 179

CHAPTER XXXII
The Price of a Book  182

CHAPTER XXXIII
Illustrations  185
 
CHAPTER XXXIV

The Reading of Proofs 195

CHAPTER XXXV
Books Published at the Author's Expense 204

CHAPTER XXXVI
Complimentary Copies of Books   206

CHAPTER XXXVII
Books in Libraries 208

CHAPTER XXXVIII

The Advance Publication or Republication
Of Books Stories and Articles  210

CHAPTER XXXIX

The Linotype, Monotype, and Typesetting
Machines 213

CHAPTER XL
Electrotyping and Stereotyping    215

CHAPTER XLI
The Value of Experience and Timeliness . 217

CHAPTER XLII
Syndicate Writers 225

CHAPTER XLIII
Paper-Covered Books 282

CHAPTER XLIV
The Selling Value of Reputation  286
 
CHAPTER XLV

The Incomes of Book Workers 

CHAPTER XLVI

The Income of Magazine and Newspaper
Writers 244

CHAPTER XLVII

The Remuneration Received by the Favorite
Few 247

CHAPTER XLVIII
Records of Manuscripts  251

 
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Monday, December 12, 2022

The Complete Works of William Shakespeare by William Shakespeare (PDF)

The Complete Works of William Shakespeare by William Shakespeare (PDF)
 

The Complete Works of William Shakespeare
 

by William Shakespeare


Contents

THE SONNETS
ALL’S WELL THAT ENDS WELL
THE TRAGEDY OF ANTONY AND CLEOPATRA
AS YOU LIKE IT
THE COMEDY OF ERRORS
THE TRAGEDY OF CORIOLANUS
CYMBELINE
THE TRAGEDY OF HAMLET, PRINCE OF DENMARK
THE FIRST PART OF KING HENRY THE FOURTH
THE SECOND PART OF KING HENRY THE FOURTH
THE LIFE OF KING HENRY THE FIFTH
THE FIRST PART OF HENRY THE SIXTH
THE SECOND PART OF KING HENRY THE SIXTH
THE THIRD PART OF KING HENRY THE SIXTH
KING HENRY THE EIGHTH
KING JOHN
THE TRAGEDY OF JULIUS CAESAR
THE TRAGEDY OF KING LEAR
LOVE’S LABOUR’S LOST
THE TRAGEDY OF MACBETH
MEASURE FOR MEASURE
THE MERCHANT OF VENICE
THE MERRY WIVES OF WINDSOR
A MIDSUMMER NIGHT’S DREAM
MUCH ADO ABOUT NOTHING
THE TRAGEDY OF OTHELLO, MOOR OF VENICE
PERICLES, PRINCE OF TYRE
KING RICHARD THE SECOND
KING RICHARD THE THIRD
THE TRAGEDY OF ROMEO AND JULIET
THE TAMING OF THE SHREW
THE TEMPEST
THE LIFE OF TIMON OF ATHENS
THE TRAGEDY OF TITUS ANDRONICUS
THE HISTORY OF TROILUS AND CRESSIDA
TWELFTH NIGHT; OR, WHAT YOU WILL
THE TWO GENTLEMEN OF VERONA
THE TWO NOBLE KINSMEN
THE WINTER’S TALE
A LOVER’S COMPLAINT
THE PASSIONATE PILGRIM
THE PHOENIX AND THE TURTLE
THE RAPE OF LUCRECE
VENUS AND ADONIS


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About the Author 

William Shakespeare
William Shakespeare (bapt. 26 April 1564 – 23 April 1616) was an English playwright, poet and actor. He is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "the Bard"). His extant works, including collaborations, consist of some 39 plays, 154 sonnets, three long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright.[7] He remains arguably the most influential writer in the English language, and his works continue to be studied and reinterpreted. Wikipedia

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Sunday, December 11, 2022

Two Ways of Seeing A River by Mark Twain

Two Ways of Seeing A River by Mark Twain

Two Ways of Seeing A River

by Mark Twain

The face of the water, in time, became a wonderful book—a book that was a dead language to the uneducated passenger, but which told its mind to me without reserve, delivering its most cherished secrets as clearly as if it uttered them with a voice. And it was not a book to be read once and thrown aside, for it had a new story to tell every day. Throughout the long twelve hundred miles there was never a page that was void of interest, never one that you could leave unread without loss, never one that you would want to skip, thinking you could find higher enjoyment in some other thing. There never was so wonderful a book written by man; never one whose interest was so absorbing, so unflagging, so sparkingly renewed with every reperusal. The passenger who could not read it was charmed with a peculiar sort of faint dimple on its surface (on the rare occasions when he did not overlook it altogether); but to the pilot that was an italicized passage; indeed, it was more than that, it was a legend of the largest capitals, with a string of shouting exclamation points at the end of it; for it meant that a wreck or a rock was buried there that could tear the life out of the strongest vessel that ever floated. It is the faintest and simplest expression the water ever makes, and the most hideous to a pilot’s eye. In truth, the passenger who could not read this book saw nothing but all manner of pretty pictures in it painted by the sun and shaded by the clouds, whereas to the trained eye these were not pictures at all, but the grimmest and most dead-earnest of reading-matter.

Now when I had mastered the language of this water and had come to know every trifling feature that bordered the great river as familiarly as I knew the letters of the alphabet, I had made a valuable acquisition. But I had lost something, too. I had lost something which could never be restored to me while I lived. All the grace, the beauty, the poetry had gone out of the majestic river! I still keep in mind a certain wonderful sunset which I witnessed when steamboating was new to me. A broad expanse of the river was turned to blood; in the middle distance the red hue brightened into gold, through which a solitary log came floating, black and conspicuous; in one place a long, slanting mark lay sparkling upon the water; in another the surface was broken by boiling, tumbling rings, that were as many-tinted as an opal; where the ruddy flush was faintest, was a smooth spot that was covered with graceful circles and radiating lines, ever so delicately traced; the shore on our left was densely wooded, and the somber shadow that fell from this forest was broken in one place by a long, ruffled trail that shone like silver; and high above the forest wall a clean-stemmed dead tree waved a single leafy bough that glowed like a flame in the unobstructed splendor that was flowing from the sun. There were graceful curves, reflected images, woody heights, soft distances; and over the whole scene, far and near, the dissolving lights drifted steadily, enriching it, every passing moment, with new marvels of coloring.

I stood like one bewitched. I drank it in, in a speechless rapture. The world was new to me, and I had never seen anything like this at home. But as I have said, a day came when I began to cease from noting the glories and the charms which the moon and the sun and the twilight wrought upon the river’s face; another day came when I ceased altogether to note them. Then, if that sunset scene had been repeated, I should have looked upon it without rapture, and should have commented upon it, inwardly, after this fashion: This sun means that we are going to have wind to-morrow; that floating log means that the river is rising, small thanks to it; that slanting mark on the water refers to a bluff reef which is going to kill somebody’s steamboat one of these nights, if it keeps on stretching out like that; those tumbling ‘boils’ show a dissolving bar and a changing channel there; the lines and circles in the slick water over yonder are a warning that that troublesome place is shoaling up dangerously; that silver streak in the shadow of the forest is the ‘break’ from a new snag, and he has located himself in the very best place he could have found to fish for steamboats; that tall dead tree, with a single living branch, is not going to last long, and then how is a body ever going to get through this blind place at night without the friendly old landmark.

No, the romance and the beauty were all gone from the river. All the value any feature of it had for me now was the amount of usefulness it could furnish toward compassing the safe piloting of a steamboat. Since those days, I have pitied doctors from my heart. What does the lovely flush in a beauty’s cheek mean to a doctor but a ‘break’ that ripples above some deadly disease. Are not all her visible charms sown thick with what are to him the signs and symbols of hidden decay? Does he ever see her beauty at all, or doesn’t he simply view her professionally, and comment upon her unwholesome condition all to himself? And doesn’t he sometimes wonder whether he has gained most or lost most by learning his trade?

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 About the Author 

Samuel Langhorne Clemens
Samuel Langhorne Clemens (November 30, 1835 – April 21, 1910), known by his pen name Mark Twain, was an American writer, humorist, entrepreneur, publisher, and lecturer. He was praised as the "greatest humorist the United States has produced", and William Faulkner called him "the father of American literature". His novels include The Adventures of Tom Sawyer (1876) and its sequel, Adventures of Huckleberry Finn (1884), the latter of which has often been called the "Great American Novel". Twain also wrote A Connecticut Yankee in King Arthur's Court (1889) and Pudd'nhead Wilson (1894), and co-wrote The Gilded Age: A Tale of Today (1873) with Charles Dudley Warner. Wikipedia

 Born: Samuel Langhorne Clemens; November 30, 1835; Florida, Missouri, U.S
Died: April 21, 1910 (aged 74); Stormfield House, Redding, Connecticut, U.S
Parents: John Marshall Clemens (father); Jane Lampton Clemens (mother)
Children: 4, including Susy, Clara, and Jean

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