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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.
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 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 STARTCHAPTER 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 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
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
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
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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