PART I. NARRATION CHAPTER I. THE SITUATION I. How to Begin a Story. In our work in composition we shall study first the art of telling a story naturally. Most of us are more interesting when we talk than when we write, because we are then more spontaneous; that is, more informal. The art of being natural when we are writing is something most of us have to learn, and we must learn it by studying the methods by which stories are told in our ordinary conversation. First let us ask, "How does a person naturally begin in conversation to tell of something he has witnessed?" It is by listening to people talking that we shall learn how to begin a story. Literature, in order to be spontaneous, must derive its method as well as its material from life. The origin in colloquial speech of certain types of literary construction is one of the subjects that will recur again and again in our work. Imagine a dinner table around which the members of a family are assembled for their evening meal. The father is saying, "As I was on my way to the office this morning I met Henry Jones in front of Smith's drug store, hurrying for the doctor." Does this sound natural and familiar to you? Would it be likely to lead to further conversation in which perhaps the story of an accident to some member of Mr. Jones's family would be told? Might it lead to the story of a long illness dating back several years? 2. Elements of a Good Beginning. When we examine the beginning quoted above we find that it contains the following elements: I. A mention of the time, "this morning." 2. A mention of the characters, "Henry Jones" and "I." 3. A mention of the place, "in front of Smith's drug store." 4. A mention of the occasion, or the circumstances which caused the different characters to be in the place mentioned at a particular time, “on my way to the office," "hurrying for a doctor." Our next question would naturally be, "Do we find writers sometimes beginning stories in this way?" The answer is, "Yes, very often." We shall study but two illustrations from literature here, though many others will occur in our later work. I. The woods were already filled with shadows one June evening, just before eight o'clock, though a bright sunset still glimmered faintly among the trunks of the trees. A little girl was driving home her cow, a plodding, dilatory, provoking creature in her behavior, but a valued companion for all that. They were going away from whatever light there was, and striking deep into the woods, but their feet were familiar with the path, and it was no matter whether their eyes could see it or not. - SARAH ORNE JEWETT, A White Heron. II. In the old Colony days, in Plymouth the land of the Pilgrims, To and fro in a room of his simple and primitive dwelling, Clad in doublet and hose, and boots of Cordovan leather, Strode, with a martial air, Miles Standish the Puritan Captain. Buried in thought he seemed, with his hands behind. him, and pausing Ever and anon to behold his glittering weapons of warfare. Near him was seated John Alden, his friend, and household companion, Writing with diligent speed at a table of pine by the window. - HENRY W. LONGFELLOW, Courtship of Miles Standish. 3. The Situation Elements, or the Four W's. Each of the above quotations is the beginning of a story, and like the colloquial illustration in section I contains the mention of the place, time, occasion, and characters. The situation elements answer the questions who, where, when, why-the four w's. We have learned then at least one accepted way of beginning a story- the method of the four w's. If these questions which naturally occur to us in regard to place, time, etc., are answered at the beginning of the story, our minds are satisfied, and we are prepared to hear more. 4. Theme-model I.-A STORY TOLD BY A SERIES OF SITUATIONS. When our story is once started in this way, our next question is how to proceed so as to hold the attention of our hearers or readers, having once secured it by our introduction. Let us look at the following poem, which catches the attention by the method of the four w's, and keeps it by the very simple device of using three situations, one at the beginning, one in the middle, and a third at the end of a series of events. This plan will enable us to tell a story in an effective and interesting way, and is our first theme-model or pattern. THE LIGHTS OF LONDON TOWN The way was long and weary, A country lad and lassie, Along the heavy road. The night was dark and stormy, For shining in the distance The Lights of London lay. O gleaming lamps of London, that gem the city's crown, What fortunes lie within you, O Lights of London Town! The years passed on and found them The years had brought them trouble, O mocking lamps of London, what weary eyes look down Town! |