Sunday, December 8, 2013
"A book's name often has an astonishing influence on its first sale. A title that piques curiosity or suggests excitement or emotion will draw a crowd of readers the moment it appears, while a book soberly named must force its merits on the public. The former has all the advantage of a pretty girl over a plain one; it is given an instantaneous chance to prove itself worth while. A middle aged, unalluring title ('In Search of Quiet,' for instance) may frighten people away from what proves to be a mine of wit and human interest. A book headed by a man's name unmodified and uncommented upon—such as 'Horace Chase'—is apt to have a dreary, unprepossessing air, unless the name is an incisive one that suggests an interesting personality.
Fragments of proverbs and poems are always attractive, as well as Biblical phrases and colloquial expressions, but the magic title is the one that excites and baffles curiosity. The publishers of a recent 'Primer of Evolution' received a sudden flood of orders for the book simply on account of a review which had spoken of it under the sobriquet, 'From Gas to Genius.' Many copies were indignantly returned when the true title was revealed."
"In 1850 Dr. O. M. Mitchell, Director of the Astronomical Observatory in Cincinnati, gave to the press a volume entitled 'The Planetary and Stellar Worlds.' The book fell dead from the press. The publisher complained bitterly of this to a friend, saying, 'I have not sold a single copy.' 'Well,' was the reply, 'you have killed the book by its title. Why not call it "The Orbs of Heaven"?' The hint was accepted and acted upon, and 6,000 copies were sold in a month."
The title might almost be called the "text" of the story; it should be logically deduced from the plot; so a poor title usually indicates a poor plot and a poor story. This name line should grow out of the phase of the plot, rather than the basic theme, else it will be too abstract and general. It is so closely allied to the plot that they should be born synchronously—or if anything the title should precede the plot; for the story is built up around the central thought that the title expresses, much as Poe said he wrote "The Raven" about the word "nevermore."
At least, the title should be definitely fixed long before the story is completed, and often before it has taken definite form in the writer's mind. That this is the practice of professional writers may be proved by a glance at the literary column of any periodical, where coming books are announced by title when scarcely a word of them has been written. So if you have difficulty in finding an appropriate title for your story, first examine your plot, and make sure that the cause does not lie there. In case you are unable to decide among a number of possible titles, any one of which might do, you may find that your plot lacks the definiteness of impression required by the short story; but a fertile intellect may suggest a number of good titles, from which your only difficulty is to select the best.
Wednesday, November 27, 2013
The time, a September night.
The place is in danger from landslides and falling stones.
The family—father, mother, grandmother, daughter and children—are gathered happily about the hearth.
Fears if they are not put on smoothly she will not rest easily.
The house is unharmed.
The bodies are never found.
This method of permitting you to study your crude material in the concrete will prove of value to you. It enables you to crystalize into ideas what were mere phantasms of the brain, to arrange your thoughts in their proper order, and to condense or expand details with a ready comprehension of the effect of such alterations upon the general proportions of the story. It makes your purposed work objective enough so that you can consider it with a coolness and impartiality which were impossible while it was still in embryo in your brain; and it often reveals the absurdity or impossibility of a plan which had seemed to you most happy. I believe that the novice can do no better than to put his every story to this practical test.
Thursday, June 13, 2013
Thus in "The Ambitious Guest," the theme is "The futility of abstracted ambition;" or, in its most general terms, "The irony of fate." The true plot is:
An unknown but ambitious youth stops at a mountain tavern and perishes with its inmates.
In the development of a plot from this germ into the completed story, it is often of advantage to make what may be called a "skeleton" or "working plot." This skeleton is produced by thinking through the story as it has been conceived, and setting down on paper in logical order a line for every important idea. These lines will roughly correspond to the paragraphs of the finished story, but in a descriptive paragraph one line will not suffice, while a line may represent a dozen paragraphs of dialogue; then, too, paragraphing is partly logical and partly mechanical, and varies considerably with the person.
Saturday, October 6, 2012
A plot implies action—that is, something must happen; at the conclusion of the story the characters must be differently situated, and usually differently related one to another, from what they were at the beginning. The event need not be tragic, or even serious; but it must be of sufficient importance, novelty and interest to justify its relation in narrative form. In general the plot of a short story involves an incident or a minor crisis in a human life, rather than the supreme crisis which makes or mars a man for good. The chief reason for this is that the supreme crisis requires more elaborate preparation and treatment than is possible in the short story. There may be a strong tragic element which makes it seem that the denouement must be tragic, but that is usually to obtain the effect of contrast. Yet the short story may be a supreme crisis and a tragedy, as are Stevenson's "Markheim," Hawthorne's "The Ambitious Guest" and "The Birthmark," and many of Poe's tales; but these are stories of an exceptional type, in which the whole life of the chief actor comes to a focus in the crisis which makes the story.
The short story plot must be simple and complete. The popular idea of a plot, derived from the requirements of the novel and the drama, is that it should be a tangled skein of facts and fancies, which the author shall further complicate in order to exhibit his deftness in the final disentanglement. Such a plot is impossible for the short story, which admits of no side issues and no second or under plot. It must not be the synopsis of a novel, or the attempt to compress into the tiny compass of the short story a complicated plot sufficient for a novel, as are so many of the "Short Stories of the Day" now published by newspapers.
As nearly as possible it must deal with a single person, in a single action, at a single place, in a single time. More than any other modern form of literature, the short story requires the observance of the old Greek unities of time, place and action: its brevity and compactness do not admit of the proper treatment of the changes wrought by the passage of time, the influences of different scenes, or the complications resulting from the interrelation of many characters of varied importance. If the plot chosen requires the passage of ten years' time, if it involves a shift of scene from New York to Timbuctoo, or if it introduces two or three sets of characters, it may by some miracle of ingenuity make a readable story, but it will never be a model one. In "The Ambitious Guest" the time is less than three hours, the place is a single room, and the action is the development of the guest's ambition.
Tuesday, September 18, 2012
(a) The short story has Dramatic Form when the author's necessary comments correspond to the stage directions of the drama. Such a story is, in fact, a miniature drama, and is often capable of being acted just as it stands. It has a definite plot, but it is developed by dialogue as frequently as by action. It is the extreme of the modern tendency toward dramatic narrative, and is just a little too "stagey" and artificial to be a perfect short story. It is, however, in good literary standing and in good favor with the public, and it is most excellent practice for the tyro, for in it he has to sink himself completely in his characters.
Examples: Hope's "The Dolly Dialogues;" Kipling's "The Story of the Gadsbys;" and Howells' one act parlor plays, like "The Parlor Car," "The Register," "The Letter," and "Unexpected Guests."
(b) A short story has Dramatic Effect when it deals with a single crisis, conveys a single impression, is presented chiefly by the actors themselves, and culminates in a single, perfect climax. It may, or may not, be capable of easy dramatization. It is less artificial than the story of pure Dramatic Form, but is just as free from padding and irrelevant matter, and just as vivid in effect. It allows of greater art and finish, for the writer has wider freedom in his method of presentation.
Examples: Poe's "'Thou Art the Man!'" and "Berenice;" James' "The Lesson of the Master" and "A Passionate Pilgrim;" Wilkins' "A New England Nun" and "Amanda and Love;" Stevenson's "The Isle of the Voices;" and Irving's "The Widow and Her Son" and "Rip Van Winkle." But, indeed, every good short story belongs in this class, which is not so much a certain type of the short story, as the "honor class" to which each story seeks admittance.
Wednesday, February 17, 2010
(a) The simplest form is the Nonsense Story, as it may be justly called. Usually it has the merest thread of plot, but contains odd or grotesque characters whose witty conversation furnishes all the amusement necessary. If the characters do act they have an unfortunate tendency to indulge in horse play. The work of John Kendrick Bangs well illustrates this type of story. His books, "The House Boat on the Styx" and "The Pursuit of the House Boat," are really only collections of short stories, for each chapter can be considered as a whole.
(b) The Burlesque has a plot, but usually one which is absurdly impossible, or which is treated in a burlesque style. The amusement is derived chiefly from the contrast between the matter and the method of its presentation. Most of Stockton's stories are of this type: notably his "The Lady, or the Tiger?" Mark Twain, too, usually writes in this vein, as in "The Jumping Frog" and "The Stolen White Elephant."
Monday, November 9, 2009
(a) The Story of Wonder has little plot. It is generally the vivid description of some amazing discovery (Poe's "Some Words with a Mummy," Hale's "The Spider's Eye"), impossible invention (Adee's "The Life Magnet," Mitchell's "The Ablest Man in the World"), astounding adventure (Stockton's "Wreck of the Thomas Hyde," Stevenson's "House with Green Blinds"), or a vivid description of what might be (Benjamin's "The End of New York," Poe's "The Domain of Arnheim"). It demands unusual imaginative power.
(b) The Detective Story requires the most complex plot of any type of short story, for its interest depends solely upon the solution of the mystery presented in that plot. It arouses in the human mind much the same interest as an algebraic problem, which it greatly resembles. Poe wrote the first, and probably the best, one in "The Murders in the Rue Morgue;" his "The Mystery of Marie Roget" and "The Gold Bug" are other excellent examples. Doyle, in his "Sherlock Holmes" stories, is a worthy successor of Poe.