writing weird fiction

7/28/2019 Writing Weird Fiction

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2/13

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.... ....HHHH PPPP LovecraftLovecraftLovecraftLovecraft

Howard Phillipsoften credited ashorror, fantasy aknown as weird fLovecraft's guidi

what he termed "life is incomprehis fundamentallysuch, his stories

beliefs and affairMythos story cycof magical rites a

H.P. Lovecraft wWriting Weird Fiproudly reprint i

version to meet a

We encourage yo

For more FRvisit http://

by http://www.FreelanceWriting.com

n Writing Weird Fiction

ovecraft (August 20, 1890 March 15,H.P. Lovecraft, was an American authd science fiction, especially the subgenction.

g aesthetic and philosophical principlecosmicism" or "cosmic horror," the ideansible to human minds and that the un

inimical to the interests of humankind.xpress a profound indifference to huma. Lovecraft is best known for his Cthulhe and theNecronomicon, a fictional grid forbidden lore.

ote an article in 1933, entitled, "Notes oction." Released into Creative Commonsfor you. This is a lightly-edited, revised

verage readability levels in the U.S.

u to save or print this ebook for easy rea

EE e-books on writing and freelanww.freelancewriting.com/ebooks

writers.php

1937),or ofe

asthatverse

sn

oire

n, we

ding.

ing,for-


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the illusion of time, s

universe imprison us

cosmic spaces beyon

emphasize the eleme

emotion. Fear best le

illusions.

Horror and the unkn

another. It is hard to

law or cosmic "aliena

emotion of fear. The

that this element loo

dramatic and grimlyis the most potent an



My reason for writing stories is to

my desire to visualize the vague, el

fragmentary impressions of wondeand adventurous expectancy. Thes

are conveyed to me by certain sigh

(scenic, architectural, atmospheric,

ideas, occurrences, and images whi

encountered in art and literature.

I write weird stories because they s

inclination best. I have a strong anpersistent wish to

momentarilysuspend

pace, and natural law. The natural laws

, and frustrate our curiosity about the i

d our sight and analysis. My stories fre

nt of horror. Fear is our deepest and str

nds itself to the creation of Nature-def

own, or the strange, closely embrace on

create a convincing picture of shattere

ge" or "outsideness." One must greatly

reason whytimeplays a great part in ms up in my mind as the most profoun

terrible thing in the universe.Conflictd fruitful theme in all human expressio

atisfy

sive,

, beauty,things

s

etc.),

ch I have

uit my

r violate

of the

finite

uently

ongest

ing

e

natural

tress the

y tales is

ly

ith time.


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While my chosen for

is a persistent and pitself. We will always

about unknown oute

These authors whisk

incredible adventure;

possibilities which d

fantastic urban towe

Great authors as wel

Dunsany, Poe, ArthuWalter de la Mare be

As to how I write aAs to how I write aAs to how I write aAs to how I write a

different history. On

but usually I start wi

express. I revolve it i

embody it in a chain

concrete terms. I run

situations which I ad

speculate, logically a

which motivates the

The process of writi

conception; but if I

it is possible to deduaveragewriting proc



m of story writing is a special and narr

rmanent type of expression, as old as lihave a small group of authors who are

r space, and a burning desire to escape

themselves away into enchanted lands

they want to experience the infinite

eams open up to us: things like deep w

s, and flaming sunsets momentarily su

as insignificant amateurs like myself

Machen, M. R. James, Algernon Blacking typical masters in this field.

torytorytorytoryI have no set way. Each of my ta

e or twice I have literally written out a

h a mood, idea or image which I wish t

my mind until I can think of how I wa

of dramatic occurrences so I can recor

through a mental list of the basic cond

apt to a mood, idea or image; and then I

d naturally, on the basic condition or s

iven mood, idea or image.

g is as varied as the choice of theme an

ere to analyze the history of all my tale

e the following set of rules from thess:

w one, it

teraturecurious

reality.

of

ods,

gest.

ood, and

les has a

dream;

t to

it in

tions or

begin to

ituation

d initial

, I think


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1.1.1.1. Prepare a synopsis oabsolute occurrence

enough fullness to cyour story. Details, c

sometimes desirable

2.2.2.2. Prepare a second synarration(not actualwith notes as to cha

the original synopsis

force or general effewilldo not bind yo

your entire story. Let

add and your story.

3.3.3.3. Write out the storyfollowing thesecondand plot whenever t

never restrict yourse

suddenly reveals ne

storytelling, add wha

need to go back and

and delete whole sec

beginnings and endi

Thoroughly reconcil

final design. Removeparagraphs, or whol

precautions about th



r scenario of events in the order of thei

notthe order of their narration. Descrver all vital points and motivate all incimments, and estimates of consequenc

in this temporary framework.

opsis or scenario of eventsthis one i

occurrence), with ample fullness and d

ging perspective, stresses, and climax.

to fit if such a change will increase the

tiveness of the story. Alter or delete inrself by your original concept, even if

anything in the formulating process he

rapidly, fluently, and not too critically

or narrative-order synopsis. Change ince developing process suggests such ch

lf by any previous design. If the develo

opportunities for dramatic effect or vi

tever you believe is advantageous. You

reconcile the early parts to the new pla

ions if necessary or desirable. Try diffe

gs until you have found the best arran

all references throughout the story wi

all possible superfluitieswords, senteepisodes or elementsobserving the

e reconciling of all references.

ibe with

dents ins are

order of

tail, and

hange

dramatic

idents atay alter

lp you

idents

nge, and

ment

id

may

. Insert

rent

ement.

h the

nces,sual


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4.4.4.4. Revise the entire text vocabulary, syntax, rhythm of pro proportioning niceties of ton grace and con

and detailed a

and vice versa. effectiveness o dramatic susp plausibility an various other

5.5.5.5. Prepare a neatly typwhere they seem in

The first of these stages

conditions and happeni

to prepare a detailed sy

I sometimes begin the a

develop the idea. Rather

in my story.

I know of four distinct t



. Pay attention to:

e,

of parts,

,

incingness of transitions (scene to scen

tion to rapid and sketchy time-coverin

.. etc., etc., etc.),f beginning, ending, climaxes, etc.,

nse and interest,

atmosphere, and

lements.

d copy. Do not hesitate to add final rev

rder.

is often purely a mental one: I work ou

gs in my head. I never sit down until I

opsis of events in order of narration. T

tual writing before I know how I shoul

, I begin forming a problem which I wil

pes of weird story:

e, slow

action

sions

a set of

m ready

hen, too,

exploit


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1) one expressing a mo

2) another expressing a3) a third expressing aconception; and

4) a fourth explaining aclimax.

In another way, I can gr

those in which the marv

someconditionor hensomeaction of personsphenomenon.

Each weird storyespe

elements:

a)a)a)a) some basic, underetc.;

b)b)b)b) the general effect

c)c)c)c) the mode of maniphenomena obser



d or feeling;

pictorial conception;

eneral situation, condition, legend or in

definite tableau or specific dramatic sit

oup weird tales into two rough categori

el or horror concerns

menon;and 2)2)2)2) those in which it concer

onnected with a bizarre condition or

ially horrorseems to involve five defi

lying horror or abnormality: condition,

or bearings of the horror;

estationobject embodying the horrorved;

tellectual

ation or

es: 1)1)1)1)

ns

nite

entity,

and


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d)d)d)d) the types of fear-r

e)e)e)e)the specific effectconditions.

In writing a weird story

and place the emphasis

marvelan account of i

phenomenaas a com

conventional emotions.

believable, the writer mthe storyexceptthat touA writer must treat this

careful emotional buil

Being the principal thin

overshadow the charact

characters and events c

the single marvel. In rel

should show the same o

would show toward suc

granted. Even when my

try to weave an air of a

feel. A casual style ruins

Atmosphere, not action,all that a wonder story

human mood. The mom



eaction pertaining to the horror; and

s of the horror in relation to the given s

I try to achieve the right mood and atm

where it belongs. A writer cannot prese

mpossible, improbable, or inconceivabl

onplace narrative of objective acts and

o make inconceivable events and cond

st maintain a careful realism in everyching on the one given marvel.

marvel impressively and deliberately

d-upelse it will seem flat and unco

in the story, its mere existence should

ers and events. But the writer must ma

nsistent and natural, except where the

tion to the central wonder, the charact

verwhelming emotion which similar ch

a wonder in real life. Never take a wo

characters become accustomed to the

e and magnificence to what the reader

any serious fantasy.

is the great necessity of weird fiction. Ian ever be isa vivid picture of a certaient a writer tries to make it something

et of

osphere,

nt a

itions

hase of

ith a

vincing.

e the

touch

rs

racters

der for

onder, I

should

deed,type of

lse, it


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becomes cheap, puerile,

emphasizesubtlesuggeselective associative detshadings of moods and

the unreal. Avoid bald c

substance or meaning a

symbolism.

These are the rules or s

unconsciouslyever si

fantasy. That my resultsknow, had I ignored the

telling would have been



and unconvincing. A writer should

tionsimperceptible hints and touche

ail. This technique will help the writer euild up a vague illusion of the strange

talogues of incredible happenings; the

art from sustaining a cloud of color an

andards which I have followedconsci

ce I first attempted the serious writing

are successful may well be disputed. Be tips in the last few paragraphs, my st

much worse.

of

xpressreality of

have no

d

ously or

of

t Iory-


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Lovecraft's final hom

he was moved to the

where he died of can

March 15, 1937. Th

Prospect Street - Loo



e from May 1933 until March 10, 193

Jane Brown Memorial Hospital in Provi

cer of the small intestine and kidney di

Samuel B. Mumford House (1825) - 6

king East-South-East.

, when

dence;

ease on


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The gravestone of H.



P. Lovecraft, famed 20th-century horro writer.


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