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 financiering 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 manœuvre 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.)
These ideas are some that occur to me casually. You will, of course, have
many far better. I suggest that you make the article anywhere from 4,000 to
6,000 words. Get as much meat in it as you can, and, by the way—stuff it full of
western genuine slang—(not the eastern story paper kind). Get all the
quaint cowboy expressions and terms of speech you can think of.
Information is what we want, clothed in the peculiar western style of
the character we want to present. The main idea is to be natural, direct, and
concise.
I hope you will understand what I say. I don't. But try her a whack and send
it along as soon as you can, and let's see what we can do. By the way, Mr.
"Everybody" pays good prices. I thought I would, when I get your story, put it
into the shape my judgment decides upon, and then send both your MS. and mine to
the magazine. If he uses mine, we'll whack up shares on the proceeds. If he uses
yours, you get the check direct. If he uses neither, we are out only a few
stamps.
Sincerely your friend,
W. S. P.
[And here is the letter telling his "pard" that the
article had been bought by Everybody's Magazine. This is dated
Pittsburg, October 24th, obviously the same
year:]
Dear Pard:
You're It. I always told you you were a genius. All you need is to succeed in
order to make a success.
I enclose pubrs letter which explains itself. When you see your
baby in print don't blame me if you find strange ear marks and brands on it. I
slashed it and cut it and added lots of stuff that never happened, but I
followed your facts and ideas, and that is what made it valuable. I'll think up
some other idea for an article and we'll collaborate again some time—eh?
I have all the work I can do, and am selling it right along. Have averaged
about $150 per month since August 1st. And yet I don't overwork—don't think I
ever will. I commence about 9 a. m. and generally
knock off about 4 or 5 p. m.
As soon as check mentioned in letter comes I'll send you your "sheer" of the
boodle.
By the way, please keep my nom de plume strictly to yourself. I don't
want any one to know, just yet.
Give my big regards to Billy. Reason with him and try to convince him that we
believe him to be pure merino and of more than average width. With the kindest
remembrances to yourself I remain,
Your friend,
W.
S. P.
[At this time O. Henry was unknown and thought himself
lucky to sell a story at any price.]
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