Lovecraft, H P - Notes On Writing Weird Fiction

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Notes On Writing Weird Fiction

by H.P. Lovecraft

My reason for writing stories is to give myself the satisfaction of visualising more clearly

and detailedly and stably the vague, elusive, fragmentary impressions of wonder, beauty,

and adventurous expectancy which are conveyed to me by certain sights (scenic,

architectural, atmospheric, etc.), ideas, occurrences, and images encountered in art and

literature. I choose weird stories because they suit my inclination best - one of my

strongest and most persistent wishes being to achieve, momentarily, the illusion of some

strange suspension or violation of the galling limitations of time, space, and natural law

which forever imprison us and frustrate our curiosity about the infinite cosmic spaces

beyond the radius of our sight and analysis. These stories frequently emphasise the

element of horror because fear is our deepest and strongest emotion, and the one which

best lends itself to the creation of Nature-defying illusions. Horror and the unknown or

the strange are always closely connected, so that it is hard to create a convincing picture

of shattered natural law or cosmic alienage or "outsideness" without laying stress on the

emotion of fear. The reason why time plays a great part in so many of my tales is that this

element looms up in my mind as the most profoundly dramatic and grimly terrible thing

in the universe. Conflict with time seems to me the most potent and fruitful theme in all

human expression.

While my chosen form of story-writing is obviously a special and perhaps a narrow one,

it is none the less a persistent and permanent type of expression, as old as literature itself.

There will always be a certain small percentage of persons who feel a burning curiosity

about unknown outer space, and a burning desire to escape from the prison-house of the

known and the real into those enchanted lands of incredible adventure and infinite

possibilities which dreams open up to us, and which things like deep woods, fantastic

urban towers, and flaming sunsets momentarily suggest. These persons include great

authors as well as insignificant amateurs like myself - Dunsany, Poe, Arthur Machen, M.

R. James, Algernon Blackwood, and Walter de la Mare being typical masters in this field.

As to how I write a story - there is no one way. Each one of my tales has a different

history. Once or twice I have literally written out a dream; but usually I start with a mood

or idea or image which I wish to express, and revolve it in my mind until I can think of a

good way of embodying it in some chain of dramatic occurrences capable of being

recorded in concrete terms. I tend to run through a mental list of the basic conditions or

situations best adapted to such a mood or idea or image, and then begin to speculate on

logical and naturally motivated explanations of the given mood or idea or image in terms

of the basic condition or situation chosen.

The actual process of writing is of course as varied as the choice of theme and initial

conception; but if the history of all my tales were analysed, it is just possible that the

following set of rules might be deduced from the average procedure:

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Lovecraft, H P - Notes On Writing Weird Fiction

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