Mary Wilkins Freeman: How to become a successful female author

Over a period of 46 years, Mary Wilkins Freeman authored over 250 short stories, of which approximately 50 are considered by Mary Wilkins Freeman: A study of short fiction to be well-executed stories, “making her work worthy of the critical reevaluation it has received.”  The sheer bulk of her writing is something to marvel at; her contribution as a female author in her time is something else that deserves attention.  Not only did Freeman craft widely-read stories, but she also gave advice to aspiring female authors, sharing her experiences and wisdom to help others navigate the fickle literary world.  In a way, Freeman wrote a manual (albeit it one that was spread throughout her short stories, letters, and instructional writings) that gave step-by-step instructions to those willing to find the pieces and put them together.  Drawing on a number of primary sources, I have reconstructed what I consider to be some of Freeman's most important points.

            Step 1: Don’t imitate others; be your own mentor.

Freeman placed a great deal of emphasis on a female author’s need to write independently “and courageously.” Freeman’s work reflects broad interests and perspectives, and she encouraged those who desired to become authors to write about what they knew and felt inspired by.  She cautioned aspiring authoresses against the perceived power of the editor; Freeman referred to the editor as “only human” and equipped with little creativity.  She viewed this unimaginative human editor as an important reason for a young writer to “learn to be her own mentor.”  This move would allow a female writer to decide for herself what kind of writer she would like to be, an ideal that Freeman herself held dear.

            Step 2: Let your stories unfold organically.

Freeman characterized herself as a sequential author, one whose work emerged organically, “taking shape during the writing process.”  In one of her exchanges with an editor, she stated that she “never [knew] much about a story…. If [she] did try to force the knowledge, and abide by it, [she] [feared] [she] should spoil it.” In this way Freeman warned aspiring writers against finishing stories before they were truly ready to end.  Freeman also remarked that many of her stories “had been in [her] head a matter of a dozen years” until she was able to formulate them on paper.  

            Step 3: Don’t impose yourself upon the narrator.

Henry James was a major figure in the American Realism canon who brought such ideas as “narrative consciousness” and “effaced narrator” into light.  He didn’t believe that the narrator should have so much control as being the voice of reality because realistically, everyone is biased.  This idea has become one of the central tenets of realism.  Freeman also wanted to avoid a moralizing narrator, and wanted to impress upon female writers the necessity of a writer “leaving herself out of the whole proposition” of narration.  She pointed out that an authoress’ personal emotions and experiences were probably insignificant to the rest of the world.  For this reason, she felt it important that the author not tie herself too closely to the narrative voice.  This is not to say that the author cannot push her ideas into her own work, but to rather to weave the moral aspect of a story separate from the narration.

            Step 4: Be clear.

Freeman insisted upon a writer’s clarity.  She wished to show aspiring authors that it was important to be simple and direct, to “write even about difficult themes in such a way that a child can understand.”  In this way, Freeman warns against incorporating every detail.  In consistently considering clarity, a writer will create a story that is more easily read and retained as well as open to interpretation by readers.  By not mentioning everything in the story, an author leaves some of the story to the imagination, a quality that exists in all good writing.  A short, focused story, Freeman argued, would convey a point better than a needlessly specific one.

Step 5:  It doesn’t matter why you write, but do it well.

Freeman wanted to impress upon aspiring female writers that as long as a strong work was produced, the reason behind it was not of the greatest importance.  She noted that “a man may write… for the sake of something rather ignoble, and a woman may write… to buy a French hat.”  She wanted to show those who desired to become authors that they could be writing for any reason under the sun, be it economic shortcomings, a desire for fame, or to buy a French hat.  However, she also wanted to impress upon them that their reasons for writing should not be the focus.  She urged aspiring authors to write “conscientiously and steadily,” focusing on creating a solid, resilient story rather than the reason for their writing. 

            Step 6: Encourage competitive bidding among publishers.

 Freeman was an author, but she was also a businesswoman.  She wanted to get the most money for her works that she could, and would write to various publishers to haggle about pricing and the worth of her stories.  In 1893 she wrote to Harper Bros. giving them prices that other publishers had offered (or allegedly offered) and stating that Harper Bros. should consider paying her more, as it seemed to her “a fair comparative price.”  Freeman wanted to show those who wished to become authors that it was important to take an active role in the publishing of their respective works.  In this way, each author would likely get the most for her work and show that she was not willing to passively take less than her work deserved.

 

            Step 6: Set a production pace.

After Freeman became more established as an author, she made it a priority to stick to a schedule.  Her work was in such high demand that she often found herself tired and uninspired.  Publishers soon found that they had to “accept the pace of production [Freeman] set.”  In this way, Freeman would be able to take her time, and as she put it “do [her] very prettiest.”  This sense of being able to control production was something that Freeman truly appreciated.  She was able to control the quality of her work through the pace in which she wrote.  This concept is particularly in keeping with Step 2, which pushes for letting stories unfold organically.  She wanted to convey to those who desired to become authors that it is better to develop a strong, powerful story over a long period of time than to crank out frivolous stories quickly.  This idea also kept publishers and readers wanting more; this shrewd business move ensured that publishers would print her work and that her readership wouldn’t dwindle.

Mary Wilkins Freeman was an author, a businesswoman, and someone who wanted to help guide a new generation of female authors.  She had a great deal of influence on short stories “written by and about women.”  This influence and guidance came in the form of letters, stories, and magazine articles.  Her advice helped inspire the new female author to be in control of her own work and to write well.

Johanningsmeier, Charles. "Sarah Orne Jewett and Mary E. Wilkins (Freeman): Two Shrewd       Businesswomen in Search of New Markets." The New England Quarterly Mar. 1997.

Print.

Reichardt, Mary R.. Mary Wilkins Freeman: a study of the short fiction. New York: Twayne   Publishers; 1997. Print.