Friday, September 9, 2011

Becoming a Writer: MARK TWAIN (1835-1910)- Method of Writing

Mark Twain photo portrait.Image via Wikipedia

MARK TWAIN (1835-1910)- Method of Writing

Brief biographical data

Because the pseudonym ‘Mark Twain’ became so popular and famous, hardly anyone remembers that the famous writer was born Samuel Langhorne Clemens in 1835. Attracted to the written word, Mark Twain started to work as an apprentice printer in his hometown of Hannibal, Missouri, at the early age of 16.
After moving around sometimes as a part time vagabond, other times as a jack of all trades —on printing presses, on riverboats, mines— Mark Twain landed a job as a reporter at the Daily Territorial Enterprise, a newspaper in Virginia City, Nevada.

Mark Twain was a prolific writer, but what he is remembered for today are his series of novels about the young heroes Huck Finn and Tom Sawyer: The Adventures of Huckleberry Finn, and  The Adventures of Tom Sawyer.

Mark Twain’ method of writing

There has never been a time in the past thirty-five years when my literary shipyard hadn't two or more half-finished ships on the ways, neglected and baking in the sun; generally there have been three or four. This has an un-businesslike look, but it was not purposeless, it was intentional. As long as a book would write itself, I was a faithful and interested amanuensis, and my industry did not flag; but the minute that the book tried to shift to my head the labor of contriving its situations, inventing its adventures and conducting its conversations, I put it away and dropped it out of my mind. Then I examined my unfinished properties to see if among them there might not be one whose interest in itself had revived, through a couple of years' restful idleness, and was ready to take me on again as amanuensis.

It was by accident that I found out that a book is pretty sure to get tired along about the middle, and refuse to go on with its work until its powers and its interest should have been refreshed by a rest and its depleted stock of raw materials reinforced by lapse of time. It was when I had reached the middle of Tom Sawyer that I made this invaluable find. At page 400 of my man­uscript the story made a sudden and determined halt and refused to precede another step. Day after day it still refused. I was disappointed, distressed, and immeasurably astonished, for I knew quite well that the tale was not finished, and I could not understand why I was not able to go on with it. The reason was very simple—my tank had run dry; it was empty; the stock of materials in it was exhausted; the story could not go on without materials; it could not be wrought out of nothing. When the manuscript had lain in a pigeon-hole two years I took it out one day, and read the last chapter that I had written. It was then that I made the great discovery that when the tank runs dry you've only to leave it alone and it will fill up again, in time, while you are asleep-also while you are at work at other things, and are quite unaware that this unconscious and profitable cerebration is going on. There was plenty of material now, and the book went on and finished itself without any trouble.

Ever since then, when I have been writing a book I have pigeon-holed it without misgivings when its tank ran dry, well knowing that it would fill up again without any of my help with­in the next two or three years, and that then the work of com­pleting it would be simple and easy. The Prince and the Pauper struck work in the middle, because the tank was dry, and I did not touch it again for two years. A dry interval of two years occurred in The Connecticut Yankee at the Court of King Arthur. A like interval has occurred in the middle of other books of mine. Two similar intervals have occurred in a story of mine called "Which Was It?" In fact, the second interval has gone considerably over time, for it is now four years since that second one intruded itself. I am sure that the tank is full again now, and that I could take up that book and write the other half of it with­out a break or any lapse of interest-but I sha'n't do it. The pen is irksome to me. I was born lazy, and dictating has spoiled me. I am quite sure I shall never touch a pen again; therefore that book will remain unfinished-a pity, too, for the idea of it is new and would spring a handsome surprise upon the reader at the end.

There is another unfinished book, which I should probably entitle The Refuge of the Derelicts. It is half finished and will remain so. There is still another one, entitled The Adventure of a Microbe During Three Thousand Years; by a Microbe. It is half finished and will remain so. There is yet another-The Mysterious Stranger. It is more than half finished. I would dear­ly like to finish it, and it causes me a real pang to reflect that it is not to be. These several tanks are full now, and those books would go gaily along and complete themselves if I would hold the pen, but I am tired of the pen.

There was another of these half-finished stories. I carried it as far as thirty-eight thousand words four years ago, then destroyed it for fear I might someday finish it. Huck Finn was the teller of the story, and of course Tom Sawyer and Jim were the heroes of it. But I believed that that trio had done work enough in this world and were entitled to a permanent rest.
In Rouen in '93 I destroyed fifteen thousand dollars' worth of manuscript; and in Paris, in the beginning of '94, I destroyed ten thousand dollars' worth-I mean, estimated as magazine stuff. I was afraid to keep those piles of manuscript on hand, lest I be tempted to sell them, for I was fairly well persuaded that they were not up to the standard. Ordinarily there would have been no temptation present, and I would not think of publishing doubtful stuff-but I was heavily in debt then, and the tempta­tion to mend my condition was so strong that I burned the man­uscript to get rid of it. My wife not only made no objection, but encouraged me to do it, for she cared more for my reputation than for any other concern of ours. About that time she helped me put another temptation behind me. This was an offer of six­teen thousand dollars a year, for five years, to let my name be used as editor of a humorous periodical. I praise her for fur­nishing her help in resisting that temptation, for it is her due. There was no temptation about it, in fact, but she would have offered her help just the same if there had been one. I can con­ceive of many wild and extravagant things when my imagination is in good repair, but I can conceive of nothing quite so wild and extravagant as the idea of my accepting the editorship of a humorous periodical. I should regard that as the saddest of all occupations. If I should undertake it I should have to add to it the occupation of undertaker, to relieve it in some degree of its cheerlessness.

There are some books that refuse to be written. They stand their ground, year after year, and will not be persuaded. It isn't because the book is not there and worth being written-it is only because the right form for the story does not present itself. There is only one right form for a story, and if you fail to find that form the story will not tell itself. You may try a dozen wrong forms, but in each case you will not get very far before you dis­cover that you have not found the right one-then that story will always stop and decline to go any farther. In the story of Joan of Arc I made six wrong starts, and each time that I offered the result to Mrs. Clemens she responded with the same deadly criticism-silence. She didn't say a word, but her silence spoke with the voice of thunder. When at last I found the right form I recognized at once that it was the right one, and I knew what she would say. She said it, without doubt or hesitation.
In the course of twelve years I made six attempts to tell a sim­ple little story which I knew would tell itself in four hours if I could ever find the right starting-point. I scored six failures; then one day in London I offered the text of the story to Robert McClure, and proposed that he publish that text in the maga­zine and offer a prize to the person who should tell it best. I became greatly interested and went on talking upon the text for half an hour; then he said:
"You have told the story yourself. You have nothing to do but put in on paper just as you have told it."
I recognized that this was true. At the end of four hours it was finished, and quite to my satisfaction. So it took twelve years and four hours to produce that little bit of a story, which I have called "The Death Wafer."

To start right is certainly an essential. I have proved this too many times to doubt it. Twenty-five or thirty years ago I began a story which was to tum upon the marvels of mental telegraphy. A man was to invent a scheme whereby he could synchronize two minds, thousands of miles apart, and enable them to freely converse together through the air without the aid of a wire. Four times I started it in the wrong way, and it wouldn't go. Three times I discovered my mistake after writing about a hun­dred pages. I discovered it the fourth time when I had written four hundred pages-then I gave it up and put the whole thing in the fire.

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