Love Conquers All Part 29

LVII

ADVICE TO WRITERS

Two books have emerged from the hundreds that are being published on the art of writing. One of them is "The Lure of the Pen," by Flora Klickmann, and the other is "Learning to Write," a collection of Stevenson's meditations on the subject, issued by Scribners. At first glance one might say that the betting would be at least eight to one on Stevenson. But for real, solid, sensible advice in the matter of writing and selling stories in the modern market, Miss Klickmann romps in an easy winner.

It must be admitted that John William Rogers Jr., who collected the Stevenson material, warns the reader in his introduction that the book is not intended to serve as "a macadamized, mile-posted road to the secret of writing," but simply as a help to those who want to write and who are interested to know how Stevenson did it. So we mustn't compare it too closely with Miss Klickmann's book, which is quite frankly a mile-posted road, with little sub-headings along the side of the page such as we used to have in Fiske's Elementary American History. But Miss Klickmann will save the editors of the country a great deal more trouble than Stevenson's advice ever will. She is the editor of an English magazine herself, and has suffered.

Where Miss Klickmann enumerates the pitfalls which the candidate must avoid and points out qualities which every good piece of writing should have, Stevenson writes a delightful essay on "The Profession of Letters"

or "A Gossip on Romance." These essays are very inspiring. They are too inspiring. They make the reader feel that he can go out and write like Stevenson. And then a lot of two-cent stamps are wasted and a lot more editors are cross when they get home at night.

On the other hand, the result of Miss Klickmann's book is to make the reader who feels a writing spell coming on stop and give pause. He finds enumerated among the horrors of ma.n.u.script-reading several items which he was on the point of injecting into his own ma.n.u.script with considerable pride. He may decide that the old job in the s.h.i.+pping-room isn't so bad after all, with its little envelope coming in regularly every week. As a former member of the local ma.n.u.script-readers' union, I will give one of three rousing cheers for any good work that Miss Klickmann may do in this field. One writer kept very busy at work in the s.h.i.+pping-room every day is a victory for literature. I used to have a job in a s.h.i.+pping-room myself, so I know.

If, for instance, the subject under discussion were that of learning to skate, Miss Klickmann might advise as follows:

1. Don't try to skate if your ankles are weak.

2. Get skates that fit you. A skate which can't be put on when you get to the pond, or one which drags behind your foot by the strap, is worse than no skate at all.

3. If you are sure that you are ready, get on your feet and skate.

On the same subject, Scribners might bring to light something that Stevenson had written to a young friend about to take his first lesson in skating, reading as follows:

"To know the secret of skating is, indeed, I have always thought, the beginning of winter-long pleasance. It comes as sweet deliverance from the tedium of indoor isolation and brings exhilaration, now with a swift glide to the right, now with a deft swerve to the left, now with a deep breath of healthy air, now with a long exhalation of ozone, which the lungs, like greedy misers, have cast aside after draining it of its treasure. But it is not health that we love nor exhilaration that we seek, though we may think so; our design and our sufficient reward is to verify our own existence, say what you will.

"And so, my dear young friend, I would say to you: Open up your heart; sing as you skate; sing inharmoniously if you will, but sing! A man may skate with all the skill in the world; he may glide forward with incredible deftness and curve backward with divine grace, and yet if he be not master of his emotions as well as of his feet, I would say--and here Fate steps in--that he has failed."

There is, of course, plenty of good advice in the Stevenson book. But it is much better as pure reading matter than as advice to the young idea or even the middle-aged idea. It may have been all right for Stevenson to "play the sedulous ape" and consciously imitate the style of Hazlitt, Lamb, Montaigne and the rest, but if the rest of us were to try it there would result a terrible plague of insufferably artificial and affected authors, all playing the sedulous ape and all looking the part.

On the whole, the Stevenson book makes good reading and Miss Klickmann gives good advice.

LVIII

"THE EFFECTIVE SPEAKING VOICE"

Joseph A. Mosher begins his book on "The Effective Speaking Voice" by saying:

"Among the many developments of the great war was a widespread activity in public speaking."

Mr. Mosher, to adopt a technical term of elocution, has said a mouthful.

Whatever else the war did for us, it raised overnight an army of public speakers among the civilian population, many of whom seem not yet to have received their discharge. It is the aim of Mr. Mosher's book to keep this Landwehr in fighting trim and aid in recruiting its ranks, possibly against the next war. Until every nation on earth has subjected its public speakers to a devastating operation on the larynx no true disarmament can be said to have taken place.

In the first place there are exercises which must be performed by the man who would have an effective speaking voice, exercises similar to Walter Camp's Daily Dozen. You stand erect, with the chest held moderately high. (Moderation in all things is the best rule to follow, no matter what you are doing.) Place the thumbs just above the hips, with the fingers forward over the waist to note the muscular action.

Then you inhale and exhale and make the sound of "ah" and the sound of "ah-oo-oh," and, if you aren't self-conscious, you say "wah-we-wi-wa,"

slowly, ten or a dozen times.

"The student should stop at once if signs of dizziness appear," says the book, but it does not say whether the symptoms are to be looked for in the student himself or in the rest of the family.

The author does the public a rather bad turn when he suggests to student speakers that, under stress, they might use what is known as the "orotund." The orotund quality in public speaking is saved for pa.s.sages containing grandeur of thought, when the orator feels the need of a larger, fuller, more resonant and sounding voice to be in keeping with the sentiment. Its effect is somewhat that of a chant, and here is how you do it:

The chest is raised and tensed, the cavities of the mouth and pharynx are enlarged, more breath is directed into the nasal chambers and the lips are opened more widely to give free pa.s.sage to the increased volume of voice.

The effectiveness of the orotund might be somewhat reduced if the audience knew the conscious mechanical processes which went to make it up. Or if, in the Congressional Record, instead of (laughter and applause) the vocal technique of the orator could be indicated, how few would be the wars into which impa.s.sioned Senators could plunge us! For example, Mr. Thurston's plea for intervention in Cuba:

"The time for action has come. (Tensing the chest.) No greater reason for it can exist tomorrow than exists today. (Enlarging the cavities of the mouth.) Every hour's delay only adds another chapter to the awful story of misery and death. (Enlarging the cavities of the pharynx.) Only one power can intervene--the United States of America. (Directing more breath into the nasal chambers.) Ours is the one great nation of the New World--the mother of republics. (Elevating the diaphragm.) We cannot refuse to accept this responsibility which the G.o.d of the Universe has placed upon us as the one great power of the New World. We must act!

(Raising the tongue and thrusting it forward so that the edges of the blade are pressed against the upper grinders.) What shall our action be?

(Lifting the voice-box very high and the edges of the tongue blade against the soft palate, leaving only a small central groove for the pa.s.sage of air.)"

The aspirate quality, or whisper, is very effective when well handled, and the book gives a few exercises for practice's sake. Try whispering a few of them, if you are sure that you are alone in the room. You will sound very silly if you are overheard.

a. "I can't tell just how it happened; I think the beam fell on me."

b. "Keep back; wait till I see if the coast is clear."

c. "Ask the man next to you if he'll let me see his programme."

d. "Hark! What was that?"

e. "It's too steep--he'll never make it--oh, this is terrible!"

For the cheery evening's reading, if you happen to be feeling low in your mind, let me recommend that section of "The Effective Speaking Voice" which deals with "the Subdued Range." The selections for the practice-reading include the following well-known nuggets in lighter vein:

"The Wounded Soldier," "The Death of Molly Ca.s.s," "The Little Cripple's Garden," "The Burial of Little Nell," "The Light of Other Days," "The Baby is Dead," "King David Mourns for Absalom," and "The Days That Are No More."

After all, a good laugh never does anyone any harm.