In fictional narration, verisimilitude is absolutely essential. A story must be consistent and must contain no event glaringly removed from the usual order of things, unless that event is the main incident, and is approached with the most careful preparation. In real life, odd and erratic things do occasionally happen; but they are out of place in an ordinary story, since fiction is a sort of idealisation of the average. Development should be as life-like as possible, and a weak, trickling conclusion should be assiduously avoided. The end of a story must be stronger rather than weaker than the beginning; since it is the end which contains the denouement or culmination, and which will leave the strongest impression upon the reader. It would not be amiss for the novice to write the last paragraph of his story first, once a synopsis of the plot has been carefully prepared—as it always should be. In this way he will be able to concentrate his freshest mental vigour upon the most important part of his narrative; and if any changes are later found needful, they can easily be made. In no part of a narrative should a grand or emphatic thought or passage be followed by one of tame or prosaic quality. This is anticlimax, and exposes a writer to much ridicule.
DESCRIPTION: In his essay “Literary Composition,” which Lovecraft wrote at the beginning of his career as a writer, he describes his approach to writing fiction.
CITATION: Lovecraft, H. P. “Literary Composition.” Collected Essays. Edited by S. T. Joshi, vol. 2, Hippocampus Press, 2004, pp. 39-45.
About 1919 the discovery of Lord Dunsany—from whom I got the idea of the artificial pantheon and myth-background represented by “Cthulhu”, “Yog-Sothoth”, “Yuggoth”, etc.—gave a vast impetus to my weird writing; and I turned out material in greater volume than ever before or since. At that time I had no thought or hope of professional publication; but the founding of Weird Tales in 1923 opened up an outlet of considerable steadiness. My stories of the 1920 period reflect a good deal of my two chief models, Poe and Dunsany, and are in general too strongly inclined to extravagance and overcolouring to be of much serious literary value.
DESCRIPTION: In his essay “Some Notes on a Nonentity,” Lovecraft describes his early tales, which were heavily influenced by Edgar Allan Poe and Lord Dunsany, as too baroque “to be of much serious literary value.”
CITATION: Lovecraft, H. P. “Some Notes on a Nonentity.” Collected Essays. Edited by S. T. Joshi, vol. 5, Hippocampus Press, 2006, pp. 207-11.
Atmosphere, not action, is the great desideratum of weird fiction. Indeed, all that a wonder story can ever be is a vivid picture of a certain type of human mood. The moment it tries to be anything else it becomes cheap, puerile, and unconvincing. Prime emphasis should be given to subtle suggestion—imperceptible hints and touches of selective associative detail which express shadings of moods and build up a vague illusion of the strange reality of the unreal. Avoid bald catalogues of incredible happenings which can have no substance or meaning apart from a sustaining cloud of colour and symbolism.
These are the rules or standards which I have followed—consciously or unconsciously—ever since I first attempted the serious writing of fantasy. That my results are successful may well be disputed—but I feel at least sure that, had I ignored the considerations mentioned in the last few paragraphs, they would have been much worse than they are.
DESCRIPTION: In his essay “Notes on Writing Weird Fiction,” Lovecraft describes the weird tale as a “vivid picture of a certain type of human mood” sustained by atmospheric writing and the subtle use of suggestion.
CITATION: Lovecraft, H. P. “Notes on Writing Weird Fiction.” Collected Essays. Edited by S. T. Joshi, vol. 2, Hippocampus Press, 2004, pp. 175-8.