Feature writing

“ These are the first difficult bands which we encounter; and when we remember that the object of writing is to be clear and distinct, and that the test of a good style is that it seizes on the essential points in which letters differ, and puts aside the flourishes and ornaments which disguise the simple form, we shall see how much a strong influence was needed to prevent writing from becoming obscure and degraded. ”

“ But in narrating an event, or in describing a setting, after he has determined that event and setting are essential to his single story, the writer may employ the technique of general narrative or descriptive writing. Whatever the form of fiction, its aim is the same, to show real men and women doing in a real world the things one might expect from their natures and the circumstances of their lives. ”

“ And when the writer describes setting to give body to the story, scattered descriptive touches will have more effect than a single isolated block of description. It is another aspect of the matter touched upon in relation to the description of persons. If a story is to have the concreteness, definition, and vivacity of life, the descriptive quality must permeate the whole, both as to the persons and their environment. The descriptive task cannot be performed once and for all, either as to the persons or the setting, any more than can the narrative task. ”

“ Other types of story exist, but the lines between them are not drawn by the inherent character of the art of fiction. The love story, for instance, may be told with emphasis on character, on incident, or on atmosphere, and the placing of emphasis determines its artistic character. The technique of conception is concerned only with fundamental types, and the sole object of its mastery is to give the writer knowledge of the essential artistic character of each of his conceptions, [47] that he may work with a definite aim in development. ”

“ By the very nature of the conceptive process the writer seizes his story ideas in terms of persons, events, or atmosphere. And when he has a definite story idea he first should develop it so as to give it maximum effect, and then should consider whether he must write a short story or novel or romance to give his developed idea adequate expression. The writer who starts with some abstract knowledge of fiction technique, and seeks to vivify rules of construction into a definite story, will accomplish very little. ”

“ The relatively small number of amateurs who undertake special articles, compared with the hundreds of thousands who try their hand at short stories, makes the opportunities for special feature writers all the greater. ”

“ It might seem, at first view, that a symbolical mode of writing must be more simple in its character than the system now in use, inasmuch as by that plan each idea or object would be expressed by one character alone, whereas, by our mode of writing, several characters, sometimes as many as eight or ten, are required to express a word, which word, after all, represents only one single object or idea. ”

“ Let us keep in mind value, selection, subordination, proportion, emphasis, as a second group of terms for principles involved in writing. We may also wish to give our subject further elements of appeal through what may be suggested beyond the telling, through the melody and rhythm of the words, or through a quickening of the sense of the beautiful. Suggestion, melody, rhythm, beauty, are to be included, then, in a third group of qualities that may contribute to the effectiveness of what we write. ”

“ Whether the action of a story is significant in relation to character depends upon whether the writer has discovered a real plot and developed it properly; whether the persons of a story seem tangible and unique apart from their actions depends upon the writer's skill in describing them and transcribing their speech. That is to say, characterization is a matter accomplished by narration, by description, and by the transcription of speech. A reader of a story has a clue to the natures of its people in their actions, in their words, and in what the writer has to say about them. ”

“ It deals with men and women, and, if it is to be effective, a reader must receive some definite physical impression of each person as well as a knowledge of his nature. In the whole philosophy of fiction writing, characterization, as commonly understood, functions thus: the natures of the several major characters are primary elements of the fiction, as are the events; the impression an observer and listener would receive from each person must be built up for a reader that the fiction may have the concreteness and reality of life for him. ”

“ The argument of the last paragraph is clinched by the fact that of a thousand stories, all of which are well constructed and put together, only a few or perhaps [17] none will be written with any approach to real literary power, in the verbal sense. Of all the writers of to-day who can put together a story in workmanlike fashion how many have the power of the telling word? how many have even a style? ”

“ And the whole duty of beautiful typography is not to substitute for the beauty or interest of the thing thought and intended to be conveyed by the symbol, a beauty or interest of its own, but, on the one hand, to win access for that communication by the clearness and beauty of the vehicle, and on the other hand, to take advantage of every pause or stage in that communication to interpose some characteristic and restful beauty in its own art. ”

“ Obviously, to the use of this method the highest powers are necessary, the power to select the salient and distinctive points of the thing to be drawn, excising all superfluous matters, the power to choose the exact and vivid word, and, finally, the power—more, seemingly, than that of mere word-selection—to precipitate reality in words, one sometimes manifested by works the diction of which is not particularly dynamic. ”

“ Straight narration, including the whole physical progress of the story, whether detailed or general, requires no color; characterization, including the process of individualizing a person as to his nature, as to his appearance, and as to his speech, requires one; the process of touching in setting requires another; the process of preparing a reader emotionally for succeeding events requires a third; the process of intensifying atmosphere—if the story is of atmosphere—requires a fourth. ”

“ The characters,—not the author,—make the plot. Their personalities reveal themselves in action. The entire story is founded substantially upon life and appears as a photographic glimpse of reality.
As in all other writing, the greater the art of the writer in adapting style to thought, in using language effectively, the better production. Word-choice, power of phrasing, and skill in artistic construction count for as much in the short story as in any other type of literature. ”

“ This design, this composition, this pattern, whether it be of a story as a whole or of a sentence or a phrase, is as essential to a piece of writing as is the design or composition to a picture. It satisfies the emotional need of the child which is as essential in real education as is the intellectual. ”

“ The inherited habit of composition in the form of oral verse and prose is vastly older than our modern practice of secluding ourselves and scratching down rows of little black symbols on a white expanse of paper, or still more incongruously tapping celluloid keys with the tips of our fingers. ”

“ 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. ”

“ Description by detail is, perhaps, more admissible in writing having a meditative tone than in any other, except, of course, technical description.
32. Fine Writing.—Fine writing is especially to be avoided in visualization, since the tone of artificiality is immediately destructive of the reader's confidence in the sincerity of the writer. It betrays the author's purpose of producing an effect. The appearance of truth free from any semblance of over-statement is a first requisite. ”

“ That means is to write with due elaboration, lest the phrasing seem stark and flat in comparison with the softly moulded contours of life itself. There are two elements in literature, the fact and the form; they are equally important and should be equally complete. When considering the fitness of a plot to serve as the skeleton for a short story, remember that in execution the thing must be written with due verbal elaboration, else it will be angular and unattractive, and that the idea of many incidents, people, or places cannot be so written in the space available. ”

“ My object is not to discuss or analyze pedantically, for the sake of the analysis itself, but simply to state the importance of discovering the basic fictional character of the idea, that it may be properly expanded. Strict constructive and executive technique of course require separate treatment. ”

“ The writer who knows precisely where his story idea will classify under analysis has a standard that will prove most useful in the work of development. If it classifies as a story of atmosphere, rather than of plot or of character, the writer will be led to concentrate upon his proper task of creating the atmospheric illusion, and will not dissipate his energies and spoil the effect of the finished work by interpolating unnecessary touches of emphasis upon character or incident. ”

“ A style in writing, if not formed in express imitation of some certain model, is the pure result of the disposition of the mind, and takes its character from the predominant quality of the writer. Thus a short and compact, and a diffused and flowing expression are the proper consequences of certain corresponding characters of the human genius. One has a vigorous comprehensive conception, and therefore collects his sense into few words. ”

“ The general proposition is that the writer of fiction [29] must observe life, must estimate it, and must express the phase that his estimation shows to be significant. The open eye, the cultivated and able mind, and the trained hand are all equally essential, and all must work together in harmony. Some have the eye without the hand ”

“ Writing, which takes place in many respects at a higher cognitive level than the production and utterance of the word, or than in pictographic notation, is a multi- relational device. It makes possible relations between different words, between different sentences, between images and language. ”

“ I am also convinced that the imitation of style in writing, pursued methodically, enables a man to express his own thoughts with facility, propriety of colouring, exactitude of phrase and term, according to the variety of images, grave or gay, familiar or dignified, which we desire to develop and to communicate under their true aspect in prose or poetry. ”

“ I will leave it for my readers to draw their own conclusions as to whether automatic writing is the work of extraneous spirits, through the brain and intelligence of the medium, or the result of auto-suggestive influence upon the subjective personality. ”

“ But during a lifetime one accumulates a large number of models simply by habitually observing everything that comes in one's way. When the writer takes up {the} pen to produce a story, he searches through his mental collection for a suitable model. ”

“ This is obviously true in the case of the strict story of plot, and it is very curiously true in the case of the story of character or of atmosphere. For in the story which lays emphasis on personality, the evolution or degeneration of the particular trait which has been selected for presentation is the real story-element of the fiction. The fact is the root of the necessity that the action develop in concert with the trait of character, giving it opportunity for expression. ”

“ I do not wish to be understood as endeavoring to invent a new torture for pupils or one more device for further overburdening teachers already overloaded. I merely call attention to the value as a means of mental and literary training of the study of paragraph structure in the works of the masters of style, and to the fact that such study is an indispensable part of a literary training.
Of course the ultimate appeal in all that concerns the mechanics of composition is to what is commonly called Good Use. All written symbols by which intelligence is conveyed from man to man are arbitrary. ”

“ Write thousand-word outlines of ten stories as you have opportunity, put them aside for a while, and then see if you cannot re-shape their people, re-devise and re-order their events, to make them more effective, more interesting fictions. In blocking out a story do not state happenings merely; indicate your people's natures, their looks, their speech, and indicate where you would touch in setting, depict character by action, speech, or description, or hint to a reader the emotional quality of what is to come. ”

“ Where one author is cramped by a pen and hampered in the choice of the words that make writing the natural expression of thought, the other allows words and ideas to blend in interesting, amusing or touching homogeneity, always harmonious and always natural. ”

“ In either case, the writer who sees material for a short story or novel in such a life must select for reproduction chiefly those acts of the character which are significant as to the trait sought to be brought out, otherwise the story will be without point and meaning. ”

“ In particular, each one will display graphically and yet in detail wherein lies its value as a fiction, whether in its people, in its events, or in its setting, and will show plainly the cunning blending of elements which is at once the fact and the result of the technique of construction. ”

“ Read a story through a couple of times, that you may know definitely what it is, and then read it again critically, underlining every word, except those which serve only to forward the progress of the story as a mere course of events, and striking out every word or passage which seems to you inessential to the whole. Use a single color to mark a single process, and neglect the superficial character of the words, whether they be narrative, descriptive, or serve to embody dialogue. ”