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Ad Astra, v. 1, issue 5, January 1940

Page 6

Page 6.     AD ASTRA

unseen, sliding toward the scuppers as he screams and claws the deck. In Lovecraft's "Dunwich Horror", I remember the description of the dying half-human monster, and especially the ghastly tentacles which "changed color" as the thing breathed. In Belknap Long's fine "Space-Eaters", I shuddered over the inexplicable , white object that ran down a tree and elongated like an arm, as it pursued the fleeing victim.
These situations, lifted from their surroundings, are meaningless save to those who have read the tales in Question. For that reason I have tried to choose stories which most fans have read or should have read. As I say, the single scenes are ineffective save as integral parts of t the whole.A weird yarn need follow no arbitrary formula or pattern; it can make its own laws, so long as it achieves its purpose. But I believe that all good weird stories possess this single moment of horror which surpasses everything else in the epos. It is easy enough to prove or disaprove this. What weird fantasies do you recall off-hand? And why do you remember them? What scene is called to mind when you think of "The White People" by Machen, for example, or Bulwer-Lytton's "House and the Brain"?
It is necessary to utilize the emotions as well as the intellect in writing a weird tale----a good one. Any capable author can turn out a ghost story which will be enjoyable reading and provide brief entertainment. But in order to arouse any real emotion in the reader it is vital for the writer to feel something of that emotion himself. He must, for the nonce, at least half-believe that he is a character in his story. He must hypnotize himself into feeling that character's emotions.
A certain restraint, of course, is advisable. More than once, when I'm writing a yarn and have my character in a tough spot, I find myself unconsciously emitting the most extraordinary sounds--gasps----groans-------horse rasps and the occasional, "Oooooh God"! If anybody is in the room with me at the time, they are startled, to say the least.
I once wrote a tale in which, the protagonist was buried alive. And I did my damnest to feel as he would have felt. I visualized the darkness, the weight of earth pressing down, and,tho difficulty in breathing, even to the extent of holding my breath. Whether or not this had anything to do with it, the published story, proved popular with readers.
Now I do not recommend carrying such literary exercises too far. But I do feel that visualization and emotional projection are important if one wants to write a good weird tale. Without these factors, it is next to impossible to create that moment of stark, shuddery,horror that makes such stories as "The Empty Birth" and "The Damned Thing"remembered.

Are YOU planning to attend the [[underline]]CHICAGO 1940 WORLD SCIENCE FICTION CONVENTION? Which dates[[end underline]] would be more convenient for [[underline]]you[[end underline]]; sometime in [[underline]]August[[end underline]], 1940, or [[underline]]Sept. 1st[[end underline]], over the three-day Labor Day holiday?
The answers to those two questions must be learned [[underline]]at once[[end underline]], for, the [[underline]]Convention Committee[[end underline]] must plan the entire event, many months in [[underline]]advance[[end underline]]. Would everyone please drop us a few lines telling if [[underline]]you[[end underline]] are planning to be in [[underline]]Chicago[[end underline]] for the [[underline]]Convention[[end underline]], so we will have some idea as to how many to expect...and, also include your preference on the date the Convention should be held on. Your cooperation will be appreciated.
All communications regarding the [[underline]]Convention[[end underline]] should be sent to the [[underline]]Chairman of the Convention Committee[[end underline]], IFF Headquaters, 3156 Cambridge, Ave., Chicago, Illinois.
MID-WEST MARKY

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Page 6. AD ASTRA unseen, sliding toward the scuppers as he screams and claws the deck. In Lovecraft's "Dunwich Horror", I remember the description of the dying half-human monster, and especially the ghastly tentacles which "changed color" as the thing breathed. In Belknap Long's fine "Space-Eaters", I shuddered over the inexplicable , white object that ran down a tree and elongated like an arm, as it pursued the fleeing victim. These situations, lifted from their surroundings, are meaningless save to those who have read the tales in Question. For that reason I have tried to choose stories which most fans have read or should have read. As I say, the single scenes are ineffective save as integral parts of t the whole.A weird yarn need follow no arbitrary formula or pattern; it can make its own laws, so long as it achieves its purpose. But I believe that all good weird stories possess this single moment of horror which surpasses everything else in the epos. It is easy enough to prove or disaprove this. What weird fantasies do you recall off-hand? And why do you remember them? What scene is called to mind when you think of "The White People" by Machen, for example, or Bulwer-Lytton's "House and the Brain"? It is necessary to utilize the emotions as well as the intellect in writing a weird tale----a good one. Any capable author can turn out a ghost story which will be enjoyable reading and provide brief entertainment. But in order to arouse any real emotion in the reader it is vital for the writer to feel something of that emotion himself. He must, for the nonce, at least half-believe that he is a character in his story. He must hypnotize himself into feeling that character's emotions. A certain restraint, of course, is advisable. More than once, when I'm writing a yarn and have my character in a tough spot, I find myself unconsciously emitting the most extraordinary sounds--gasps----groans-------horse rasps and the occasional, "Oooooh God"! If anybody is in the room with me at the time, they are startled, to say the least. I once wrote a tale in which, the protagonist was buried alive. And I did my damnest to feel as he would have felt. I visualized the darkness, the weight of earth pressing down, and,tho difficulty in breathing, even to the extent of holding my breath. Whether or not this had anything to do with it, the published story, proved popular with readers. Now I do not recommend carrying such literary exercises too far. But I do feel that visualization and emotional projection are important if one wants to write a good weird tale. Without these factors, it is next to impossible to create that moment of stark, shuddery,horror that makes such stories as "The Empty Birth" and "The Damned Thing"remembered. Are YOU planning to attend the [[underline]]CHICAGO 1940 WORLD SCIENCE FICTION CONVENTION? Which dates[[end underline]] would be more convenient for [[underline]]you[[end underline]]; sometime in [[underline]]August[[end underline]], 1940, or [[underline]]Sept. 1st[[end underline]], over the three-day Labor Day holiday? The answers to those two questions must be learned [[underline]]at once[[end underline]], for, the [[underline]]Convention Committee[[end underline]] must plan the entire event, many months in [[underline]]advance[[end underline]]. Would everyone please drop us a few lines telling if [[underline]]you[[end underline]] are planning to be in [[underline]]Chicago[[end underline]] for the [[underline]]Convention[[end underline]], so we will have some idea as to how many to expect...and, also include your preference on the date the Convention should be held on. Your cooperation will be appreciated. All communications regarding the [[underline]]Convention[[end underline]] should be sent to the [[underline]]Chairman of the Convention Committee[[end underline]], IFF Headquaters, 3156 Cambridge, Ave., Chicago, Illinois. MID-WEST MARKY