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Page 109
I want the man who is telling the story to tell it--not as he would to a
reading public or to a confessor--but something in this way: Suppose he
were marooned on an island in mid-ocean with no hope of ever being
rescued; and, in order to pass away some of the time he should tell a
story to HIMSELF embodying his adventure and experiences and opinions.
Having a certain respect for himself (let us hope) he would leave out
the "realism" that he would have no chance of selling in the market; he
would omit the lies and self-conscious poses, and would turn out to his
one auditor something real and true.
So, as truth is not to be found in history, autobiography, press reports
(nor at the bottom of an H. G. Wells), let us hope that fiction may be
the means of bringing out a few grains of it.
The "hero" of the story will be a man born and "raised" in a somnolent
little southern town. His education is about a common school one, but he
learns afterward from reading and life. I'm going to try to give him a
"style" in narrative and speech--the best I've got in the shop. I'm
going to take him through all the main phases of life--wild adventure,
city, society, something of the "under world," and among many
characteristic planes of the phases. I want him to acquire all the
sophistication that experience can give him, and always preserve his
individual honest HUMAN view, and have him tell the TRUTH about
everything.
It is time to say now, that by the "truth" I don't mean the
objectionable stuff that so often masquerades under the name. I mean
true opinions a true estimate of all things as they seem to the "hero."
If you find a word or a suggestive line or sentence in any of my copy,
you cut it out and deduct it from the royalties.
I want this man to be a man of natural intelligence, of individual
character, absolutely open and broad minded; and show how the Creator of
the earth has got him in a rat trap--put him here "willy nilly" (you
know the Omar verse); and then I want to show what he does about it.
There is always the eternal question from the Primal Source--"What are
you going to do about it?" Please don't think for the half of a moment
that the story is going to be anything of an autobiography. I have a
distinct character in my mind for the part, and he does not at all.
(Here the letter ends. He never finished it.)
* * * *
THE STORY OF "HOLDING UP A TRAIN"
In "Sixes and Sevens" there appears an article entitled "Holding Up a
Train." Now the facts were given to O. Henry by an old and dear friend
who, in his wild avenging youth, had actually held up trains. To-day he
is Mr. Al. Jennings, of Oklahoma City, Okla., a prominent attorney. He
has permitted the publication of two letters O. Henry wrote him, the
first outlining the story as he thought his friend Jennings ought to
write it, and the second announcing that, with O. Henry's revision, the
manuscript had been accepted.
From W. S. Porter to Al. Jennings, September 21st
(year not given but probably 1902).
DEAR PARD:
In regard to that article--I will give you my idea of what is wanted.
Say we take for a title "The Art and Humor of the Hold-up"--or something
like that. I would suggest that in writing you assume a character. We
have got to respect the conventions and delusions of the public to a
certain extent. An article written as you would naturally write it would
be regarded as a fake and an imposition. Remember that the traditions
must be preserved wherever they will not interfere with the truth. Write
in as simple, plain and unembellished a style as you know how. Make your
sentences short. Put in as much realism and as many facts as possible.
Where you want to express an opinion or comment on the matter do it as
practically and plainly as you can. Give it LIFE and the vitality of
FACTS.
Now, I will give you a sort of general synopsis of my idea--of course,
everything is subject to your own revision and change. The article, we
will say, is written by a TYPICAL train hoister--one without your
education and powers of expression (bouquet) but intelligent enough to
convey his ideas from HIS STANDPOINT--not from John Wanamaker's. Yet, in
order to please John, we will have to assume a virtue that we do not
possess. Comment on the moral side of the proposition as little as
possible. Do not claim that holding up trains is the only business a
gentleman would engage in, and, on the contrary, do not depreciate a
profession that is really only fnanciering with spurs on. Describe the
FACTS and DETAILS--all that part of the proceedings that the passenger
sitting with his hands up in a Pullman looking into the end of a tunnel
in the hands of one of the performers does not see. Here is a rough
draft of my idea: Begin abruptly, without any philosophizing, with your
idea of the best times, places and conditions for the hold-up---compare
your opinions of this with those of others--mention some poorly
conceived attempts and failures of others, giving your opinion why--as
far as possible refer to actual occurrences, and incidents--describe the
manner of a hold-up, how many men is best, where they are stationed, how
do they generally go into it, nervous? or joking? or solemnly. The
details of stopping the train, the duties of each man of the gang--the
behavior of the train crew and passengers (here give as many brief odd
and humorous incidents as you can think of). Your opinions on going
through the passengers, when is it done and when not done. How is the
boodle gotten at? How does the express clerk generally take it? Anything
done with the mail car? UNDER WHAT CIRCUMSTANCES WILL A TRAIN ROBBER
SHOOT A PASSENGER OR A TRAIN MAN--suppose a man refuses to throw up his
hands? Queer articles found on passengers (a chance here for some
imaginative work)--queer and laughable incidents of any kind. Refer
whenever apropos to actual hold-ups and facts concerning them of
interest. What could two or three brave and determined passengers do if
they were to try? Why don't they try? How long does it take to do the
business. Does the train man ever stand in with the hold-up? Best means
of getting away--how and when is the money divided. How is it mostly
spent. Best way to manoeuvre afterward. How to get caught and how not
to. Comment on the methods of officials who try to capture. (Here's your
chance to get even.)
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