Hello and welcome to this installment of Another Year of Fiction (AYOF). Lately I took a gander at the master of comic/gothic stories Neil Gaiman and also posted a story of my own. Now I’ve turned my attention upon two of whom I would consider to be the greats of the form: Ernest Hemingway and Mark Twain. I dove into both collected stories of theirs (for Hemingway just the “first forty-nine”) and found solid lessons for writers within, much as we all can. Let’s get to those, then I’ll conclude with some of my favorites from each author.
Use of language - This is an obvious strength of both authors, but they use it in quite different ways. Twain is ever the master story-teller, filling his yarns with impeccable illustrations of local dialogue and language, making it abundantly clear how much he understood his own country. Hemingway as I’ve covered before, generally has the opposite quality, but manages to tell an impactful story nonetheless. His characters come to live in equally breathtaking ways, despite the use of such basic structure.
Good first line - Both authors really understood this, and I was quite taken away by how much better a story can be by just having a great opening sentence. “When he saw us come in the door the bartender looked up and then reached over and put the glass covers on the two free-lunch bowls.” (“The Light of the World” - Hemingway) - and “Somebody has said that in order to know a community, one must observe the style of its funerals and know what manner of men they bury with most ceremony” (“Buck Fanshaw’s Funeral” - Twain) were two of my favorites, but many of these memorable tales have a great beginning.
Overall, while I didn’t get to every story in each collection, I felt I took a pretty decent tour through each author’s oeuvre. These two knew exactly how to tell a story for a certain number of pages, and in the introduction to the Twain collection Charles Neider notes that most of Twain’s novels are basically interconnected stories. The Twain collection also included some passages from Roughing It, which I’d never read and enjoyed quite a bit. Some other favorites were: “The Man Who Corrupted Hadleyburg,” “The 1,000,000 Bank-Note,” and “Journalism in Tennessee.” For Hemingway it was definitely the greats: “The Snows of Kilimanjaro,” “The Big Two-Hearted River,” and also “A Clean Well-Lighted Place,” and “Soldier’s Home.”
But of course, I would be bereft in my writerly duty if I did not recommend these two for anyone looking to hone their short story skills. They were quite possibly the two greatest American short story writers, and they set down the guidelines by which many of us writers tread even today.
And on that note, I’m now going to head in another direction by reading two books I’ve never encountered: Roald Dahl’s bizarre stories for adults, and Kate Chopin’s The Awakening (and others). I also hope to submit one of the fifteen stories I’ve been working on to a lit journal, send another to an editor, and (if I can summon the courage) post one more on this here blog. I still will get back to the novel re-write by the winter months, but for now I’m content to remain in this “sub-experiment.” Thanks for reading!
John Abraham is a published author and freelance journalist who lives in the Twin Cities with his wife Mary and their cats. He is writing a speculative dystopian novel and is seeking representation and a publisher.