Howard Phillips Lovecraft contributes many poems and essays. His first published story, “The Alchemist”, was a short story that written in 1908, when Lovecraft was 17 and it first published in November of 1916.
He created a grand and horrific complex world of Ancient Gods, that was very unique to Lovecraft and to Horror Literature, he wrote 1 or 2 novels and most of his works were short stories and novellas. Many authors of Horror Literature, as Stephen King, described him as the greatest practitioner of the classic horror tale in 20th Century and many former aspiring authors later paid tribute to his mentoring and encouragement through the correspondence.
Read more about H.P. Lovecraft here: Top 10 Stories of H.P. Lovecraft
In January of 1920, iconic science fiction and fantasy author, H. P. Lovecraft, published a short guide titled “Literary Composition” for United Amateur Press Association – a grassroots literary education collective that dubbed itself an “exponent of amateur journalism”.
The essay, that found in the Anthology Writings in the United Amateur, offers technical tips and big-picture wisdom on the art and craft of the written word to aspiring writers.
So, for anyone who wants to learn more about his writing rules and his writing style, here are some of his most famous advice for aspiring authors:
1. He stresses the vital osmosis between reading and writing:
«No aspiring author should content himself with a mere acquisition of technical rules. All attempts at gaining literary polish must begin with judicious reading, and the learner must never cease to hold this phase uppermost. In many cases, the usage of good authors will be found a more effective guide than any amount of precept. A page of Addison or of Irving will teach more of style than a whole manual of rules, whilst a story of Poe’s will impress upon the mind a more vivid notion of powerful and correct description and narration than will ten dry chapters of a bulky textbook!»
2. He notes the equal importance of non-reading as intellectual choice:
«It is also important that cheaper types of reading, if hitherto followed, be dropped. Popular magazines inculcate a careless and deplorable style which is hard to unlearn, and which impedes the acquisition of a purer style. If such things must be read, let them be skimmed over as lightly as possible. An excellent habit to cultivate is the analytical study of the King James Bible. For simple yet rich and forceful English, this masterly production is hard to equal; and even though its Saxon vocabulary and poetic rhythm be unsuited to general composition, it is an invaluable model for writers on quaint or imaginative themes!»
3. He advocates for cultivating a love of uncommon words:
«One superlatively important effect of wide reading is the enlargement of vocabulary which always accompanies it. The average student is gravely impeded by the narrow range of words from which he must choose, and he soon discovers that in long compositions he cannot avoid monotony. In reading, the novice should note the varied mode of expression practiced by good authors, and should keep in his mind for future use the many appropriate synonyms he encounters. Never should an unfamiliar word be passed over without elucidation; for with a little conscientious research we may each day add to our conquests in the realm of philology, and become more and more ready for graceful independent expression.
But in enlarging the vocabulary, we must beware lest we misuse our new possessions. We must remember that there are fine distinctions betwixt apparently similar words, and that language must ever be selected with intelligent care!»
4. He finds in nature a literary muse:
«For the purpose of securing epithets at once accurate and felicitous, the young author should familiarize himself thoroughly with the general aspect and phenomena of Nature, as well as with the ideas and associations which these things produce in the human mind!»
5. He offers a meditation on fact and fiction, with a cautionary note about narrative sequence:
«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 idealization of the average. Development should be as lifelike 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 vigor upon the most important part of his narrative; and if any changes be 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!»
Lovecraft also enumerates the 20 most common mistakes of young authors (aside from those gross violations of syntax which ordinary education corrects), and offers a common cure for all:
1. Erroneous plurals of nouns, as vallies or echos.
2. Barbarous compound nouns, as viewpoint or upkeep.
3. Want of correspondence in number between noun and verb where the two are widely separated or the construction involved.
4. Ambiguous use of pronouns.
5. Erroneous case of pronouns, as whom for who, and vice versa, or phrases like “between you and I”, or “Let we who are loyal, act promptly”.
6. Erroneous use of shall and will, and of other auxiliary verbs.
7. Use of intransitive for transitive verbs, as “he was graduated from college”, or vice versa, as “he ingratiated with the tyrant”.
8. Use of nouns for verbs, as “he motored to Boston” or “he voiced a protest”.
9. Errors in moods and tenses of verbs, as “If I was he, I should do otherwise” or “He said the earth was round”.
10. The split infinitive, as “to calmly glide”.
11. The erroneous perfect infinitive, as “Last week I expected to have met you”.
12. False verb-forms, as “I pled with him”.
13. Use of like for as, as “I strive to write like Pope wrote”.
14. Misuse of prepositions, as “The gift was bestowed to an unworthy object” or “The gold was divided between the five men”.
15. The superfluous conjunction, as “I wish for you to do this”.
16. Use of words in wrong senses, as “The book greatly intrigued me”, “Leave me take this”, “He was obsessed with the idea” or “He is a meticulous writer”.
17. Erroneous use of non-Anglicized foreign forms, as “a strange phenomena” or “two stratas of clouds”.
18. Use of false or unauthorized words, as burglarize or supremest.
19. Errors of taste, including vulgarisms, pompousness, repetition, vagueness, ambitiousness, colloquialism, bathos, bombast, pleonasm, tautology, harshness, mixed metaphor, and every sort of rhetorical awkwardness.
20. Errors of spelling and punctuation, and confusion of forms such as that which leads many to place an apostrophe in the possessive pronoun its.