CHOOSING A THEME

CHOOSING A THEME
CHOOSING A THEME
First of all (I would say), my young friend, you should choose a truly American subject. All the critics say that this is essential. Americanism is what the age demands; and it must be produced even if we have to invent a machine to do it. Do not go abroad for your theme. Do not trifle with the effete European nightingale or ramble among Roman ruins. Take a theme from the great Republic; something that comes close to the business and bosoms of the Democracy; something unconventional and virile. Take, for example, the Clam — the native, American, free-born, little-neck Clam. We all know it. We all love it. Deal originally and vividly with the Clam. —HENRY VAN DYKE, Some Reflections on the Magazines: a humorous address delivered before the Periodical Publishers' Association of America, Washington, D. C. , April 17, 1904. 
The short-story is a vital force in the modern world, but more especially in the life of the American people. Multiform and complex as are the interests of our land, this latest form of literature is adequate to their expression ; and we have only begun the development of its infinite resources. There are no limits to the range of theme suitable to the short-story, except only propriety
and bigness. One might fill volumes in attempting to name the unending varieties of life, and their infinite interplay, which offer inviting subjects for the interpreter's pen. Subtle analysis of motive, swift synthesis of character, merciless dissection of temperament, brilliant portraiture of types, humorous sketching of crudities, satirical thrusts at foibles, tragic march of fatality, delicate tracing of fancy, sure unfolding of emotions, robust depicting of achievement — all the free and unmeasured sweep of a myriad-sided nation dwelling in a young land of swiftly-changing color comes to the American story-artist, clamoring for delineation. There is no lack of fresh themes. 
But from this embarrassment of riches how does the writer select a theme? Doubtless, no two just alike ; yet all methods of selection may roughly be included under either of two. For some writers
I. The Theme Is Born Spontaneously
That is, it may just " pop into your mind. " Now and then this experience is so vivid as to amount to the joy of a great discovery. You may be doing anything or nothing, waking or sleeping, alert or apathetic, when suddenly a spirit arises before you from nowhere and cries : " Sir, Madame, I am a Story. Write me up ! " Then there is no rest until the story is shaped and spread upon paper. 
Naturally, a well-furnished mind is the most likely to produce story-germs in this manner, hcnce all the pother
in the succeeding chapter about " gathering materials. " It would be an interesting psychological study to try to determine just how far this spontaneous birth of a theme is the result of suggestion from without, operating upon the mass of materials already a part of the author's mental, moral, and emotional equipment. 
At other times we may readily trace the inspiration to its source-spring. A look, a word dropped in conversation, an incident on the street, a paragraph in the newspaper, an apt retort, an emotional mood, a clever sentence in a book — from any of a thousand and one points of contact may flash the gleam of conviction : There is a story in this
Again, the germ will develop more slowly — much more slowly — and months, even years, elapse before the tiny suggestion becomes a full-fledged story-theme, ready for elaboration. Wise is that writer who patiently awaits the hour of full-coming before attempting to write; for with the fresh, inspiring, self-born theme fully matured in the mind, and — I want to add — in the heart, half the battle is won. 
But inspiration is not always on call. Who was it that likened his mind to a mule which habitually ran when he wished it to stop and as regularly balked when he longed for it to run? So, if a story is due at the editor's on Tuesday after next, and no obliging theme has presented itself, or those which have applied have not been found worthy, then the author has no other recourse than
2. The Theme Sought Out
Here invention is put to it for originality. Writers of wide acceptance have freely confessed that they have driven a host of ideas from Dan to Beersheba until one has yielded up the coveted theme. Then the seven sources of material I are tried in order — and seventy seven others, in disorder. Still no theme. Every possible motive, every impossible emotion, every conceivable situation, every inconceivable complication — all tried and all pronounced " stale, fiat and unprofitable. " At last (why is the head more inventive when under a hat in the open air?) a walk abroad brings the decision to a focus : the theme is found!
" I know one writer, " says George W. Cable, " who even for a short story has sat for weeks in feline patience and tension at the mouse-hole of his constructive powers, knowing only that the inspiration was in there and had to come out. " 2
The author's brain is quite a magician's top hat, into which he puts all manner of things only to take out, for the delight of an audience (not always large or select, but always worthy of study) a store of altogether surprising things, altogether transformed. " " The Piece of String" (Maupassant), "The Gold Bug" (Poe), "A
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Church Mouse " (Mary Wilkins Freeman), and " The Leather Funnel " (Doyle), are not only clever titles of stories drawn from master necromancers' hats, but, as titles, indications of the ideas that may have suggested the stories. How fascinating it would be if each of a dozen well loved writers would give us the intimate life-history of his best fiction, from inspiration down to publisher's check ; yes, and through the years afterward, when its grip upon the readers had surely yet impalpably drawn them to open up their heart of hearts in confession, in thanks, in protest, in — what not I
3. Themes Barred
Since nearly all the short-stories that attain to print are published in newspapers and periodicals, it would seem that an author who is anxious to see his story in type should consider the limitations set by the public — the real masters of the editor. Yet, on various pleas authors persist in offering for publication stories on themes entirely unsuited to publication in any periodical of general circulation. Occasionally one is accepted, either by mistake or from sheer determination to print the story because it is " good stuff, " however Mrs. Grundy may view its subject. But the doubtful theme usually has but little chance with an editor. 
Only a general grouping of subjects which are taboo can be attempted here. 
(a) Trite Themes. Hackneyed subjects now and then are treated in so original a manner as to bring the
whole story above the commonplace level, but that is a performance too unusual for even a genius to daily with often. Editors and public tired long ago of the poor boy whose industry at last brought him the hand of his employer's daughter; the pale-faced, sweet-eyed young thing whose heroism in stamping out afire enabled her to pay off the mortgage; the recovery of the missing will ; the cruel step-mother; answering a prayer which has been overheard; the strange case of mistaken identity ; honesty rewarded; a noble revenge ;a child's influence ; and so on to a long-drawn-out end. Naturally, nothing but a fair acquaintance with the short-stories of the last two decades, together with a nice sense of values, will save the writer from choosing trite subjects. I know of no printed list of hackneyed themes ; the surest teachers are common sense, a wide reading, a friendly critic, and the printed rejection slip. 
(b) Improper Themes. The buyer of a book may know for a certainty whether it discusses matters which he prefers his children should not read — the reviewer, or his friends, or his book-seller, will tell him. But this is rarely so when he buys a magazine. If he has subscribed for it, he has bought twelve cats in a bag and he has a right to expect that they should prove to be of similar parentage. If he buys a single copy, nothing but the titles, the authors' names, and the reputation of the magazine can guide his selection. Now it is this very question of reputation that bars certain themes from certain magazines, and it is quite as important for the writer to
recognize these magazine reputations as it is for the reader. '
It is not for me to decide as to whether the short story should deal with the intimate subjects of self and sex. Some of the most effective French stories handle these topics with utmost freedom, and certainly it requires some bravery to say certain needful things in the form of fiction; but by common consent the American magazine steers clear of the " taboo, " leaving to the novel those themes which divide public judgment. True, a theme of great and serious intimacy may be treated with frankness and yet not giveoffense, while a conventional subject may be handled with nasty suggestiveness. The magazines that will accept the former sort are few, but unmistakably high class ; those that print the latter are few and — unspeakable. One thing is quite intolerable : to treat a " broad " subject with levity. 
Speaking to this subject, Dr. Frederic M. Bird says :
" Then there is the improper tale, which is of two classes. In one the author means to be bad, and in most cases goes about it delicately : in the other, ladies of the highest character write, from the purest motives, to expose the evils of free love, or the wickedness of men, or the dangers to which working girls are exposed, or some other abuse of sexual attractions or affections. The public, which takes less account of intentions than
of results, is apt to merge these in one common condemnation, confounding the salacious with that which is meant to be merely monitory. " 5
Polemic Themes. The novel may freely take up the cudg 'I in defense of a sect, a party, a cult, or a " crankism, " but the short-story writer had better avoid polemics. " Genius will triumph over most obstacles, and art can sugar-coat an unwelcome pill ; but in nineteen cases out of twenty the story which covers an apology for one doctrine or an attack upon the other has no more chance (with the periodicals) than if it were made up of offensive personalities. " 
Unfamiliar Themes. By this I mean themes with which the author is not on intimate terms. The number of writers who fly from familiar subjects to themes they know not of, is legion. The beginner rushes in where genius fears to tread. If you are really anxious not to waste your time, don't attempt too much. Time spent on studying your subject will come back with compound interest when you actually write. Find your own field. Cultivate every square inch of it. Don't be tempted to try the field next door without first finding out all about it. It is necessary to be interested in your theme, but distinguish between superficial curiosity and an interest that is genuine. The stay-at-home cannot write battle scenes — usually. The recluse cannot depict society life — usually. You may be the exception, but the
chances are that you are not. It is better to write well of what you know than badly of what you do not know. Some things you can imagine, some things you cannot. Don't confuse the two. One of the most damning criticisms of the editorial office is —" this writer doesn't know his field. "
OUTLINE SUMMARY
CHOOSING A THEME
I. The Theme Born Spontaneously
•	The Theme Sought Out
•	
•	Themes Barred
•	
•	Trite
•	
•	Improper
•	
•	Polemic
•	
•	Unfamiliar
•	
QUESTIONS AND EXERCISES FOR CLASS OR
INDIVIDUAL STUDY
I. Extemporaneous. Set down as many themes as "pop into your mind " in ten minutes. (Naturally, you must not expect startlingly original ideas to bloom in this way. )
Select two of these and perfect the statement of them in not more than a sentence or two each, preserving them for use in connection with the chapters on plot. 
Examine the chains of ideas to discover, if possible, what gave rise to the themes. 
4. Make a list of themes which seem to you to be hackneyed. 
$. Have you seen any of these used lately? Where?
Select one hackneyed theme from any magazine or story collection. 
Is it well handled?
If possible, show how a fresher treatment would make it more readable. 
Does the moral impropriety of a theme consist in the theme itself or rather in its handling? Discuss. 
to. Make a list of polemic themes which seem to you unsuited to the short-story form. Be prepared to give your reasons in each instance.
category:plot