Are you a fan of Edgar Allan Poe? In this post, we share 5 tips for writing vivid fiction from Edgar Allan Poe, the American author and poet.
‘How many good books suffer neglect through the inefficiency of their beginnings!’ ~Edgar Allan Poe
Edgar Allan Poe was an American author, poet, editor, and literary critic. He was born 19 January 1809, and died 7 October 1849.
He was one of the first American short story writers. He is known as the inventor of the detective fiction genre, and for contributing to the emerging science fiction genre. His works include classics like The Raven and The Fall of the House of Usher.
Poe was ahead of his time in his writing. He understood that less is more and he had a critical plan for each piece that he wrote.
In his essay, ‘The Philosophy of Composition’, he explains the elements that make up a good story. Poe takes us through the creation of his poem, ‘The Raven’. He says he selected this well-known work to show that nothing is in it by accident. He writes ‘…that the work proceeded, step by step, to its completion with the precision and rigid consequence of a mathematical problem.’
5 Tips For Writing Vivid Fiction From Edgar Allan Poe
These are the five lessons I learnt from reading Poe’s analysis:
- The work should have a vivid, original effect. He writes ‘Of the innumerable effects, or impressions, of which the heart, the intellect, or (more generally) the soul is susceptible, what one shall I, on the present occasion, select?’ He says that tone and incident should be worked together to have the desired effect (mood) on the reader, ‘whether by ordinary incidents and peculiar tone, or the converse, or by peculiarity both of incident and tone’.
- Do not overwrite. To have the desired effect, it should be read in one sitting. He says, ‘if any literary work is too long to be read at one sitting, we must be content to dispense with the immensely important effect derivable from unity of impression.’ Obviously, novels do not necessarily fit this rule, but he believed this was essential for effect. Perhaps our modern unputdownable novels with shorter chapters have the same effect on the reader. The ideal length for a poem, he says, is one hundred lines.
- Know the ending before you begin. He believes you need to know this to be able to plot effectively. He says, ‘Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable air of consequence, or causation, by making the incidents, and especially the tone at all points, tend to the development of the intention.’ I agree with this. [Read 7 Extremely Good Reasons To Write The Ending First and 5 Really Good Reasons To Outline Your Novel.]
- Choose a setting that works for the story. Poe first decides what he wants to say in the poem, or rather what he wants the characters to say, and only once that is in place, does he decide where to set the poem. He says he needed to bring the lover and the Raven together in a specific way, ‘— and the first branch of this consideration was the locale. For this the most natural suggestion might seem to be a forest, or the fields — but it has always appeared to me that a close circumscription of space is absolutely necessary to the effect of insulated incident: — it has the force of a frame to a picture.’
- The tone should reflect the theme. He says the choice to allow the raven, a bird of ill omen to repeat one word, ‘Nevermore’, in a monotonous, melancholy tone at the end of each stanza allowed him to ask: ‘Of all melancholy topics, what, according to the universal understanding of mankind, is the most melancholy? Death — was the obvious reply.’ The melancholy tone echoes the theme of death.
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